Between Sheol and Temple Motif Structure and Function in the I-Psalms (The Library of Hebrew Bible - Old Testament Studies) by Martin Ravndal Hauge (z-lib.org)

JOURNAL FOR THE STUDY OF THE OLD TESTAMENT
SUPPLEMENT SERIES
178
Editors
David J.A. Clines
Philip R. Davies
Executive Editor
John Jarick
Editorial Board
Richard J. Coggins, Alan Cooper, Tamara C. Eskenazi,
J. Cheryl Exum, John Goldingay, Robert P. Gordon,
Norman K. Gottwald, Andrew D.H. Mayes,
Carol Meyers, Patrick D. Miller
Sheffield Academic Press
Sheffield
This page intentionally left blank
Between Sheol and Temple
Motif Structure and Function
in the I-Psalms
Martin Ravndal Hauge
Journal for the Study of the Old Testament
Supplement Series 178
In memory of Professor Arvid Schou Kapelrud
Copyright © 1995 Sheffield Academic Press
Published by Sheffield Academic Press Ltd
Mansion House
19 Kingfield Road
Sheffield, SI 19AS
England
Typeset by Sheffield Academic Press
and
Printed on acid-free paper in Great Britain
by Bookcraft
Midsomer Norton, Somerset
British Library Cataloguing in Publication Data
A catalogue record for this book is available
from the British Library
ISBN 1-85075-491-8
CONTENTS
Acknowledgments
Abbreviations
7
8
Chapter 1
PSALM 140: INTRODUCTION
1. Basic Questions
2. The Basic Motifs
9
10
27
Chapter 2
PSALMS 84 AND 36: THE PARADIGM
1. Psalm 84
2. Psalm 36
3. Conclusions from Psalms 36, 84 and 140: The Paradigm
38
38
48
60
Chapter 3
PSALMS 42-43: THE SACRED JOURNEY
1. The Psalm as a Whole
2. Verses 2-5
3. Verses 7-11
4. Psalm 43.1-4
5. Conclusions
75
75
82
86
92
95
Chapter 4
PSALMS 27 AND 26: THE I AS ACTUALIZATION OF THE PARADIGM 119
1. Psalm 27
2. Psalm 26
119
143
Chapter 5
PSALM 5: THE STRUGGLE TO DWELL IN THE TEMPLE
1. The Psalm as a Whole
2. The Paradigm (Verses 5-7,12-13)
163
163
168
6
Between Sheol and Temple
3. The Actualization of the Paradigm (Verses 3b-8,10 and 11)
4. The Prayers (Verses 9-11)
5. Conclusions for the Motif Structure
174
180
183
Chapter 6
PSALM 62: THE CONFESSOR AS TEMPLE DWELLER
1. Formal Character
2. The Application of the Motif Structure in Psalm 62:
Dwelling in the Temple as a State of Religious Being
3. The Motif Structure as a Language of Religious Experience
4. Confession in Crisis
5. The Way to Confession (Psalm 73)
243
243
253
258
262
267
Summary
281
Bibliography
Index of References
Index of Authors
288
298
312
ACKNOWLEDGMENTS
The first draft of this book was set out at King's College London during
the academic year of 1989-90. It was possible to stay for so long and in
such good working conditions at the Department of Theology and
Religious Studies thanks to the intercession of Professor Michael A.
Knibb. For his help and steady encouragement I am deeply indebted.
During this year I was supported by the The Norwegian Research
Council for Science and the Humanities, which was brought about, I
believe, by my colleague Professor Halvor Moxnes.
My colleague Professor Hans M. Barstad has provided cheerful companionship and invaluable help in surmounting the intricacies of technical
'word processing'.
The initial delight in having my manuscript accepted for the JSOT
Supplement series was great indeed. It has been added to by the care
and effort put into the publication by Sheffield Academic Press.
ABBREVIATIONS
AB
AnBib
ATANT
ATD
BETL
Bib
BKAT
BWANT
BZAW
CBQ
CB QMS
ConBOT
FRLANT
HAT
HSM
HUCA
IB
Int
JBL
JSS
OBO
OIL
SBLDS
SBM
SBS
ST
TBii
TLZ
TZ
VT
VTSup
WMANT
ZAW
ZTK
Anchor Bible
Analecta biblica
Abhandlungen zur Theologie des Alten und Neuen Testaments
Das Alte Testament Deutsch
Bibliotheca ephemeridum theologicarum lovaniensium
Biblica
Biblischer Kommentar: Altes Testament
Beitrage zur Wissenschaft vom Alten und Neuen Testament
Beihefte zur ZAW
Catholic Biblical Quarterly
Catholic Biblical Quarterly Monograph Series
Coniectanea biblica, Old Testament
Forschungen zur Religion und Literatur des Alten und Neuen
Testaments
Handbuch zum Alten Testament
Harvard Semitic Monographs
Hebrew Union College Annual
Interpreter's Bible
Interpretation
Journal of Biblical Literature
Journal of Semitic Studies
Orbis biblicus et orientalis
Old Testament Library
SBL Dissertation Series
Stuttgarter biblische Monographien
Stuttgarter Bibelstudien
Studio theologica
Theologische Biicherei
Theologischer Literaturzeitung
Theologische Zeitschrift
Vetus Testamentum
Vetus Testamentum, Supplements
Wissenschaftliche Monographien zum Alten und Neuen
Testament
Zeitschrift fur die alttestamentliche Wissenschaft
Zeitschrift fur Theologie und Kirche
Chapter 1
PSALM 140: INTRODUCTION
Deliver me, Yahweh, from the evil man,
from the man of violence preserve me!
Those who plot evil in the heart,
every day they provoke battle.
They sharpen their tongue like a serpent,
the viper's poison is under their lips.
Guard me, Yahweh, from the hands of the unjust,
from the man of violence preserve me!—
Those who plot to 'push my steps'.
The proud have hidden a trap for me,
with cords they spread a net,
by the wayside they set snares for me.
I say to Yahweh: You are my God!
Give ear, Yahweh, to the sound of my supplications!
Yahweh my Lord, my powerful salvation!
you covered my head on the day of battle.
Grant not, Yahweh, the desires of the unjust,
do not prosper his plans!
Those who surround me lift up their heads.
Let the mischief of their lips overwhelm them!
Let burning coals fall upon them.
Let them fall into pits and never stand up.
The man of tongue shall not stand firm in the land.
The man of violence—let evil hunt him speedily down!
I know that Yahweh shall judge the afflicted,
shall execute justice for the poor.
Yes, the righteous shall praise your name,
the upright shall dwell in your presence.
10
Between Sheol and Temple
1. Basic Questions
Psalm 140 makes a good starting point for an inquiry into the characteristics of the I-psalms. As one of the less popular texts,1 it has invited
stereotyped treatment as an expression of a certain genre, and thus
serves as a good illustration of the traditional models of interpretation.
The understanding of the psalm is traditionally sought in connection
with the I of the text as related to his enemies. Three motif groups which
describe the enemies have been distinguished: the motifs of war (vv. 3b,
8b), of the hunt (v. 6, cf. also v. 12b), and of words (vv. 4, 10, 12a). In
addition, the judicial motifs of v. 13, usually combined with the word
motifs and/or the first sentence of v. 12, can be emphasized as significant.
When motifs of war are stressed,2 the I is seen as a king or national
leader, under attack by national enemies, in the appropriate ritual situation before battle. Thus war motifs are understood as literal references to
the actual historical and ritual situation. The other motif groups are subordinated to the one understood in the literal sense. This subordination is
different for the different motif groups. The word motifs, as referring to
a situation of planning or cursing, can express aspects of the actual situation. But motifs of hunt3 or of judgment4 are separated from any
immediate connection with the actual situation, and are given some
figurative function.
When word motifs are stressed as the most literal expression for the
Sitz im Leben, the I is usually regarded as a private individual with private
problems. Motifs of war and hunt then have some figurative function.5
1. The psalm is 'one of the less pleasing examples' without any 'high spiritual
aspirations or sense of personal frailty' according to Taylor in W. Stewart McCullough
and W.R. Taylor, The Book of Psalms (IB 4; New York: Abingdon Press, 1955),
p. 718.
2. H. Birkeland, Die Feinde des Individuums in der israelitischen Psalmenliteratur. Bin Beitrag zur Kenntnis der semitischen Literatur- und Religionsgeschichte
(Oslo: Gr0ndahl & S0ns Forlag, 1933), pp. 228ff.; S. Mowinckel, Salmeboken
(Skriftene 1. Del, Det gamle testamente oversatt av Michelet, Mowinckel og Messel,
IV; Oslo: H. Aschehoug, 1955), p. 279; S.J.L. Croft, The Identity of the Individual in
the Psalms (JSOTSup 44; Sheffield: JSOT Press, 1987), p. 32.
3. Mowinckel, Salmeboken, p. 279.
4. Birkeland, Die Feinde, p. 230 on war 'als ein Rechtsstreit dargegestellt'.
5. Cf. H. Gunkel, Die Psalmen (Gottingen: Vandenhoeck & Ruprecht, 5th edn,
1968), p. 594 on the war motifs as 'eine dichterliche Ubertreibung', based on material
from Royal psalms. According to Taylor, Psalms, p. 718, the author is 'comparing'
1. Psalm 140: Introduction
11
The enemies' words can refer to curses, to which the present psalm forms
a contra-curse,6 or to some kind of slander.7 When related to a national
figure, the motif group can be seen to reflect the special situation of the
king beset by internal opponents in addition to his national enemies.8
When judicial forms and motifs—usually combined with the word
motifs—are stressed, the dominant situation of the psalm becomes one
of judicial procedure. According to the classic theory of H. Schmidt, the
enemies are the prosecution versus the I as defendant, appealing to the
ultimate divine judgment.9
For the judicial approach also, the text is seen as a reflection of some
actual life situation. Features relevant to this situation form the centre of
gravity for understanding the psalm, and are treated as more or less
literal expressions. Other features which are less directly connected with
a situation of judicial procedure are given some kind of metaphorical
function. Thus motifs of war and hunt are seen as metaphorical pictures
within the dominant interpretation^ framework.10
the enemies to warriors and hunters. M. Dahood (Psalms III. 101-150 [AB; New
York: Doubleday, 1970], p. 301) uses the term 'liken'. E.S. Gerstenberger (Der
bittende Mensch. Bittritual und Klagelied des Einzelnen im Alien Testament [WMANT
51; Neukirchen-Vluyn: Neukirchener Verlag, 1980], pp. 145-46) finds 'dem Kriegsund Jagdleben entliehenen Bilder'.
6. Gunkel, Psalmen, p. 594; cf. also Gerstenberger, Der bittende Mensch, p. 146
who resumes Mowinckel's hypothesis from 1921 on black magic.
7. Taylor, Psalms, p. 718; Dahood, Psalms III, p. 301; L. Ruppert Der leidende
Gerechte. Fine motiv-geschichtliche Untersuchung zum Alien Testament und
zwischentestamentlichen Judenlum (FB 5; Wiirzburg: Echter Verlag, 1972), p. 183.
8. Croft, The Identity of the Individual, p. 32.
9. H. Schmidt, Die Psalmen (HAT 15; Tubingen: Mohr, 1934), p. 246;
A. Weiser, Die Psalmen (ATD 14/15; Gottingen: Vandenhoeck & Ruprecht, 1955),
pp. 559-60; H.-J. Kraus, Psalmen (BKAT XV/1 and 2; Neukirchen-Vluyn:
Neukirchener Verlag, 1961), pp. 924ff.; W. Beyerlin, Die Rettung der Bedrangten in
den Feindpsalmen der Einzelnen auf institutionelle Zusammenhange untersucht
(FRLANT 99; Gottingen: Vandenhoeck & Ruprecht, 1970), p. 33; L. Delekat, Asylie
und Schutzorakel am Zionheiligtum. Eine Untersuchung zu den privaten
Feindpsalmen (Leiden: Brill, 1967), pp. 216-19; L. Ruppert, 'Klagelieder in Israel
und Babylonien—verschiedene Deutungen der Gewalt', in N. Lohfink (ed.), Gewalt
und Gewaltlosigkeit im Alien Testament (Quaestiones Disputatae 96; Freiburg:
Herder, 1983), pp. 151-52.
10. Cf. Schmidt, Psalmen, and Kraus Psalmen, on 'der bildlichen
Veranschaulichung', also Beyerlin, Rettung, on v. 11 and Delekat, Asylie, on v. 4 as
'Bilder'.
12
Between Sheol and Temple
While the underlying text-theory seems to be the same, the judicial
approach varies somewhat from the other models in the understanding
of what constitutes the dominant situation. Those who find the I to represent the king or a private figure beset by individual enemies tend to
stress the text as some reflection of the actual life situation of the I. All
presuppose the text to reflect some kind of ritual. But in understanding
this ritual, commentators use the text mainly as a reservoir of data on
the character of the life crisis of the I. When judicial motifs are stressed,
the text is analysed mainly as a reflection of the agenda of the ritual
ordeal.11
This short survey of the basic models of approach to the psalm refers
to the monumental effort of interpretation since Gunkel. The basic
models are mutually exclusive. The either/or character of the positions
involved veils the fundamental affinity of these approaches. What I find
most remarkable is not the differences, but the similarity of a given mindset again and again turning to solutions originally stated by the scholars
of Gunkel's generation. Thus, Gerstenberger's Der bittende Mensch of
1980 is remarkably similar to the 'pre-Birkeland' Psalmenstudien I of
Mowinckel from 1921 with regard to results and to methodology. This
is extraordinary, especially as Gerstenberger's work does not represent
any deliberate reference to the 'old ways', but relates to the scholarly
efforts of the whole period both negatively and positively.
The close affinity of given mind-sets together with the exclusivity of
the single position taken has led to a very repetitive situation, with each
new approach to the old problem striking out for a new beginning,12 cut
down to size by the next.13 Given this background, it is extremely
important to describe the common denominator of these approaches,
which has proved itself so extremely hard-wearing and which must be
so fundamental for the traditional exegetical procedures.
The most striking characteristic of these approaches is their methodological simplicity. Complex and ambiguous sets of textual data are sifted
and labelled as they relate to some fundamental question on some specific
11. Especially detailed by Schmidt Psalmen, and Beyerlin Rettung, and very
concretely by Delekat, Asylie, pp. 218-19,235.
12. E.g. Delekat, Asylie, pp. 1-11; Gerstenberger, Bittende Mensch, pp. 3-11,
165ff.
13. On Delekat see, for example, Beyerlin, Rettung, pp. 15-16; on Delekat and
Beyerlin see Ruppert, 'Der leidende Gerechte', pp. Iff.; on Gerstenberger see
Ruppert, 'Klagelieder', pp. 113-14.
1. Psalm 140: Introduction
13
social grouping or some specific institutional background. The resulting
basic positions are of a peculiarly exclusive character, confronting and
negating what exegetical practice has established as, at least possible, alternative positions. The exegetical practice of the last seventy years should
fully have demonstrated the necessity of more inclusive sets of criteria.
Referring to this experience, P.D. Miller14 asserts 'open' and 'openness'
as key words when suggesting a better approach to the text. The
'language of the psalms is open', with 'an openness to varieties of application and actualization'.
In the second place, and probably even more importantly, the simplicity of the basic positions is combined with an extremely subtle exegetical
approach. By the established practice, the exegete is free immediately to
describe the text as the expression of multidimensional reality or sometimes 'realities', with the text treated as a combination of elements which
refer to different sets of reality. In terms of method, this represents an
ambitious undertaking indeed!
The different positions on Psalm 140 can serve for a demonstration of
this basic attitude. Independent of the different positions, there is a general
agreement that the textual elements broadly fall into two categories.
1. There are elements which can be treated as relatively literal expressions for the original function of the psalm, to be paraphrased into the
exegete's chosen vocabulary. As the psalm is usually transcribed into
some kind of biographical categories, these elements are seen to describe
the historical situation of the I. This 'situation' refers to the actual life
situation of the person described in the first person, and/or the ritual
situation of the I when some actual life problem is related to the appropriate rite. These elements are thought to reflect directly the actual situation of the I. The war, word and judicial motifs of Psalm 140 exemplify
elements of this type. As only one motif type can be given this function
of 'literalness', the exegete's task becomes very much a quest for elements of this type.
2. The other type of element has a more indirect connection with the
dominant situation. Compared to the literal elements, this second type is
given some kind of figurative function, suggested by terms like 'Bild',
'bildliche Veranschaulichung', 'liken', 'compare'. These terms cover a
number of interpretative possibilities, dealing with what critics of nonbiblical literature would describe by a number of terms (e.g. pleonasms,
14. P.D. Miller, 'Trouble and Woe (Interpreting the Biblical Laments)', Int 37
(1983), p. 35.
14
Between Sheol and Temple
similes, metaphors, symbols). Only rarely is the precise function of these
elements discussed, usually in confrontational connections.15 This rather
relaxed treatment of this type of element must be due to its supposed
secondary value in the description of the character of the text. The elements defined as figurative usually represent elements rejected as literal
and thus as really important for the understanding of the psalm.16
In this way, the different positions with regard to the understanding of
Psalm 140 are manifested as different sets of 'literal' and 'figurative'
elements. What is one scholar's literal element becomes the other
scholar's metaphor, and vice versa.
To discriminate between elements with different functions in a text, as
for example dominant and subordinate elements, represents a rather
natural operation. That the discrimination outlined above has been so
problematical must be due to the special interests which made it necessary. Its practice is determined by the historical interests of the interpreters: one type of element has significance for the dominating interest,
the other not.
Both for a historical as well as for any type of interpretative approach
to the psalms this method of interpretation is problematical. One suspects that the remarkable consistency which has resulted in the same
questions and the same answers being pondered over and over again is
an indicator of the similar cultural mind-set of the exegetes.
Due to the autobiographical form of these texts, the separation
between literal and figurative elements and the possibility of culturally
biased attitudes could be related to materially important aspects. The
separation presupposes set opinions on what constitutes meaningful historical and biographical data, and excludes other phenomena as
meaningful. Thus, the crisis of the I is usually related to some version of
the basic crises of sickness, war or some judicial process. These crises
15. E.g. royal concepts as 'ubernommen' or 'demokratisiert' Kraus, Psalmen,
p. 925: As 'democratisized', the elements describe the I within a royal typology as
'king', which make the War motifs significant for the understanding of the psalm.
When 'ubernommen', the War motifs are rejected to secondary status as similes.
16. This description could seem unjustified when applied to e.g. Gerstenberger,
Bittende Mensch, who in principle regards the text as 'Chiffren', decodable only
through its setting (pp. 163ff., 118). The practical application of the theory, however,
presupposes the traditional categories with certain text-elements (pp. 144ff.) forming
the basis for observations on setting (pp. 130, 132, 135, 138, 140ff., 148ff., 152-53)
and even on the character of the personal crisis (pp. 144ff., 132, 140), while the term
'Bilder' is applied to a certain type of element (pp. 145-46).
1. Psalm 140: Introduction
15
obviously represent meaningful types of personal crisis to the modern
reader, aside from representing highly possible transcriptions of some
important motif groups. On the other hand, the strong emphasis on
these and similarly concrete social or physical types of problem as
expressions for what the crisis 'really' is about, could lead to very lopsided representations of the texts.
The possible lopsidedness could be illustrated by the attention given to
elements which describe the relationship to Yahweh as essential to the
crisis. Such elements are usually given a rather subordinate function in
relation to the 'real' problem. In special texts like Psalms 84 and 42—43,
the distance between the motifs emphasized within the composition and
the modern transcription of what the texts are all about is quite remarkable. In these texts, 'God' is obviously not only described as some miracle-producing deus ex machina, but as the object of intense longing.
The relationship to this 'God'—especially as made concrete by temple
motifs—forms a significant part of the motif development. These motif
groups could be expected to be reflected in the scholarly descriptions of
the 'real' problem. Instead the resonant sentences on this relationship
are obviously only seen as meaningful to the modern reader when
related to a concrete material frame of pilgrimage to some special festival; to rites of Thanksgiving presupposing the 'real' problem as solved;
or to a stay in the temple linked to some concrete cultic profession or to
protection in a specific life crisis. The very few and notable exceptions
only underline the peculiar tendency to treat motifs on 'God' as consistently figurative and ornamental with regard to the 'real' interests. The
transcription of the motifs into social, material, or physical categories
suggests that only certain types of phenomenon qualify as historically
meaningful, while elements which could reflect other categories—
potentially just as 'historical'—are virtually ignored. In this way, modem
notions of what constitutes real life problems and how real life problems
are related to 'religious' categories could exclude vital parts of what
constituted 'historical reality' to the psalm composers.17
This certainly should not be taken to mean that the transcription necessarily would have to define the 'real' crisis of, for example, Psalm 42
as somehow 'spiritual', with the implication of social and physical
categories as 'unspiritual'.18 What should be avoided is the accepted
17. Cf. below to recent proposals to extend the definition of Sitz im Leben to
include a wider frame of reality.
18. With modern notions on 'spirituality' as equally fatal, cf. the difficulties
16
Between Sheol and Temple
analytical habit of separation between elements understood to reflect
directly the historical situation, and figurative elements.
The problem is confounded by this apparently two-levelled approach
really being three-levelled. This is due to the special character of these
texts as supposedly referring to ritual practice. The historical interest can
be applied both to the actual life situation of the I or to the ritual situation in which the I is supposed to play a part. This three-levelled
approach can be illustrated by the automatic identification of the literary
figure 'the I'19 with the 'worshipper' on whose behalf the psalm is
applied in the cultic situation, and often with the 'author' too, either literally or in the sense that the text represents actual biographical references.20 In this way, textual elements are related to three main types of
reality:
1.
2.
3.
Elements which reflect the actual life situation of the I.
Elements which reflect the ritual situation.
Subordinate elements with a literary, figurative function.
To undertake an analysis of contemporary literary texts for arriving at
such subtle results would be ambitious. Indeed, literary critics, having
traditionally tormented themselves only with two of these types of elements, left such an undertaking decades ago. When related to ancient
in defining the term Spiritualisierung without implications of spirituality and nonspiritualized phenomena illustrated by H.J. Hermisson, Sprache und Ritus im
altisraelitischen Kult. Zur 'Spiritualisierung' der Kultbegriffe im Alien Testament
(WMANT 19; Neukirchen-Vluyn: Neukirchener Verlag, 1965), pp. 24ff., 147ff.
19. The problems involved with the traditional identification of the author/user and
the literary figure of the I is well illustrated by the discussion of N.H. Ridderbos
arguing for the traditional position 'Response', JSOT1 (1976), p. 17, and L. Alonso
Schokel, 'Psalms 42-43. A Response to Ridderbos and Kessler (JSOT 1 [1976],
pp. 12-21)', JSOT 3 (1977), pp. 62-63. To Alonso Schokel it is necessary to
understand the I as a literary figure apart from the author: To simply make such an
inference appears to me illegitimate, since it operates on an unproven and uncritical
supposition: that the author has been making a personal confession'.
20. Usually taken for granted as a presupposition, this identification is precisely
described by C.C. Broyles, The Conflict of Faith and Experience in the Psalms. A
Form-Critical and Theological Study (JSOTSup 52; Sheffield: JSOT Press, 1989),
pp. 16-17. He employs the term 'psalmist', aware that the term can 'signify either the
composer of the psalm or the worshipper using the psalm. By and large I will
be referring to the composer.' Both 'composer' and 'worshipper' are assumed to
'have passed through each phase that a lament psalm represents: a distress, and an
interpretation of it, and an appeal from it'.
1. Psalm 140: Introduction
17
texts, the results of such an undertaking must necessarily be haphazard.21
One suspects that the remarkable consistency of interpretation since
Gunkel must be due (aside from the common mind-set of the exegetes)
to the fact that the form-historical approach as applied in practice has left
the materials with little or no possibility of resistance to manipulation.
With the presupposed connectedness of ritual and actual life situation
and the corresponding possibility of adapting the dominating elements to
the most suitable reality, the freedom of the exegete is quite unrestricted.
With the possibility of denouncing the most difficult elements as
figurative, it is absolute!
With this background it could be tempting to leave the traditional
quest as altogether too subjective. The original function and the original
meaning of the laments in I-form could prove as elusive, illusory even, as
the ipsissima verba of the prophet or the original shape of the
Pentateuch traditions. Types of 'later' applications and actualizations of
the texts could provide more tangible settings for interpretation, and
could even have repercussions for the understanding of the 'original'
character of psalm language. Such applications could be connected both
to literary22 and more general 'functional'23 categories.
21. The basic form-historical model can be elaborated into an even more complicated version; cf. D.A. Knight, The Understanding of "Sitz im Leben" in
Form Criticism', in G. MacRae (ed.), SBL 1974 Seminar Papers I (Missoula, MT:
Scholars Press, 1974), pp. 105-25; and R. Knierim, 'Old Testament Form Criticism
Reconsidered', Int 27 (1973), pp. 435-68, with Broyles, Conflict of Faith, for a concrete application of their viewpoints. Referring to the unsatisfactory methodological
situation outlined above, they have argued that the concept of 'setting' should be
extended. Also, for example, historical, ideological-theological, literary and linguistic
aspects should be included. In his application of these views, Broyles sets out to
'trace each lament psalm through its stages of composition: from the distress to the
interpretation of the distress to the appeal'. The exegete should be taken 'step by step
through the whole process of experience that a lament psalm reflects' (Conflict of
Faith, p. 16). Such an extension of the Sitz im Leben-catcgory represents an ironic
twist of methodological development. Originally, form-criticism represented very
much a reaction against the traditional emphasis on individual, rational and theological
categories as important for Hebrew religion, with a new emphasis on social acts and
social experience connected with institutions and cult. A strong expression for this
reaction is represented by Mowinckel in Norsk Kirkeblad 1921, pp. 142-147, 164168, presented in English in M.R. Hauge 'Sigmund Mowinckel and the Psalms—a
Query into his Concern', SJOT2 (1988), pp. 59ff.
22. Cf. especially T. Collins, 'Decoding the Psalms: A Structural Approach to the
Psalter', JSOT 37 (1987), pp. 41-60. The structuralist model of Greimas is applied
18
Between Sheol and Temple
On the other hand, the tenacity of the ever-recurring themes of analysis
since Gunkel is a strong testimonial to the significance of historical questions. As nobody could believe that the texts fell down from heaven
without some decisive relationship to some contemporary form of activity, this activity must have had consequences for the form and the
meaning of the texts. Even if the texts should represent metaphorical
systems, the significance of this type of language must be connected to
meaning and thus to original background, to function and literary
interest—intention24 even—and also to the original reception and application. There must be some connection to the character of the environment in which such a remarkable language was created and experienced
as meaningful. Even if later usages are 'intentionally' close to the
for the analysis of the psalms in their present literary setting in a book, with
'individual psalms...viewed as segments of the whole' (p. 41). Also to Collins, the
psalms are originally a 'combination of both religious activity and literary production.
In their original setting they were part of cultic ritual...' (p. 48). But with the
emphasis on the texts as parts of a book, his understanding marks a radical change in
viewpoint compared with the traditional approaches.
23. W. Brueggemann, 'Psalms and the Life of Faith: A Suggested Typology of
Function', JSOT 17 (1980), pp. 3-32 (with a concrete example of application in 'A
Response to "The Song of Miriam" by Bernhard Anderson' in E.R. Follis [ed.],
Directions in Biblical Hebrew Poetry [JSOTSup 40; Sheffield: JSOT Press, 1987],
pp. 297-302). He refers to the literary models of Ricoeur for fresh suggestions,
with the emphasis on the function of the psalms. This includes also contemporary
devotional use, which share with the ancient use 'a common intent and function even
though other matters such as setting and institution may be different' (pp. 4-5). The
wording suggests that 'setting' and 'institution' are of secondary significance, while
'intent' and 'function' refer to phenomena which are really important for the
interpretation. Also to Miller, Trouble and Woe', pp. 32-45, the importance of later
usages is stressed. The language of the psalms is 'open and metaphorical' (p. 35),
with e.g. the enemies not to be pinned 'down to one particular category, group or type
of person' (p. 34), open to varieties of application and actualization continued into the
present. If one is interested in 'earlier actualizations of the psalms', this will 'be more
usefully and helpfully done by relating the laments to narrative and historical context
than by simply examining in as exhaustive a fashion as possible the language of the
laments themselves...a step in that direction has already been made by the historical
superscriptions to the psalms' (p. 36). With the emphasis on function and actualization as the important categories of interpretation, also these types of approach mark a
radical change of viewpoint.
24. J. Barton, Reading the Old Testament. Method in Biblical Study (London:
Darton, Longman & Todd, 1984), pp. 147ff.
1. Psalm 140: Introduction
19
'original' function, the prime intention/function must represent the prime
point of attraction.
So, if we confess to the historical interest, the most immediate lesson
from traditional exegetical practice consists in the warning against the
methodological optimism which expresses itself in the immediate transition from text to historical considerations. If the criticism voiced above is
valid, this optimism has traditionally manifested itself in the three- or
two-dimensional treatment of the textual phenomena. New ways must
be found to relate the text to the underlying religious activity. And while
such new ways very much need to be found through trial and error, at
least some beginning could be suggested from the traditional practice so
obviously leading into perdition: the necessity practically to separate the
historical interest from the actual textual analysis.25 One practical way to
start, then, could simply consist in keeping faithfully to the 'one-dimensionality' of the text.
Practically, keeping to this 'one-dimensionality' would mean valuing
textual phenomena as textual, that is 'literary' phenomena, defined
within the frame of the written text and related to other 'literary'
phenomena of other texts. With the figure of the I as the focal point of
investigation, this would mean valuing the I as a 'literary' phenomenon,
his 'identity' given by the data contained within the frame of the text.
Thus, the 'individual' of the text can neither be the author nor the 'user'
/'worshipper', but must simply be designated 'the I'. This certainly
should not be taken to mean that questions on authorship and original
function are held irrelevant. But as exegetical practice has amply demonstrated, these basic questions cannot be answered directly from isolated
I-elements within the texts.
Nor should 'one-dimensionality' mean that all textual data are to be
treated as equal. Formal and rhetorical considerations—that is, considerations based on textual data—make it necessary to distinguish between
'central', or 'dominant', and 'subordinate' elements, as of course
between different types of saying. Moreover, phenomena within the text
might refer to phenomena 'outside' the usual I-situation (cf. below to
27.14 as related to 42.6, 12, 43.5 and to 62.9ff., 131.3). Intimately connected with such considerations are questions of function which will
25. The form-historical past could of course also invite some further fingerwagging at the dangers of projecting one's own ideas of historical reality into the
past—but hardly with any practical consequences save pure passivity for the
methodological presence.
20
Between Sheol and Temple
sooner or later disturb any striving for a methodically neat and easy data
collection. Indeed, while the term 'one-dimensionality' can serve as a
useful rallying cry with regard to traditional exegetical practice, its usefulness soon exhausts itself when faced with textual reality. The list of
possible sets of reference is frighteningly rich.26 On the other hand, the
very richness of interpretative possibilities stresses the necessity of the
textual frame and sensus literalis as basic points of reference,27 especially if one hopes to arrive at points of relevance for the historical
interest.
This approach could also of course result in very unsatisfactory positions. In disregarding the accepted expressions for religious activity or
allusions to contemporary Sitz im Leben, however speculative, we might
isolate ourselves from the only means by which we could give the text
any kind of meaning. The carefully assembled data might only results
sets of chiffres,neatly arranged for the methodical purist, completely
meaningless as the expression of a literary code.
On the other hand, recent models suggest that the texts could be
meaningful also as literary codes. When later actualization and application
is emphasized, the texts are implicitly understood as established and
meaningful language systems also as separated from the experiences of
the original author or 'user'.28
26. E.g. Broyles, Conflict of Faith, p. 13 on these texts as multidimensional: 'A
lament psalm relates an experience, so it conveys a narrative. It presents this within a
metrical structure, so it is poetry. It asks for something from God, so it is prayer. It
pleads a case, so it is argument. It expresses a faith, so it is theology.' This list is only
the beginning of the diverse dimensions of the text. The experience itself that a
lament describes has its own set of dimensions. It may be historical, it may be cultic,
but it is certainly psychological and social.'
27. Cf. Childs urging the return to the sensus literalis of scripture as opposed to
the 'historical' or 'original' sense in connection with 'the present confusion in the
discipline of biblical interpretation'; The Sensus Literalis of Scripture; an Ancient
and Modern Problem', in H. Donner, R. Hanhart and R. Smend (eds.), Beitrage zur
Alttestamentlichen Theologie. Festschrift fur Walther Zimmerli turn JO.Geburtstag
(Gottingen: Vandenhoeck & Ruprecht, 1977), p. 13. Whereas his arguments refer to
the whole range of hermeneutical endeavour (cf. the critical remarks by J. Barr, The
Literal, the Allegorical, and Modern Biblical Scholarship', JSOT44 [1989], pp. 3-17),
his categories might well be applied as catchwords for a proper practical approach.
The disdain of Childs for the 'historical' and 'original' sense could result from a
misplaced application of the historical interest. This interest might ultimately be linked
with a methodically more relevant application of the sensus literalis.
28. Cf. notes 22 and especially 23 aside from the general presentation Barton,
1. Psalm 140: Introduction
21
When the texts are valued as 'literary' phenomena, in opposition to
other types of approach, single-minded study of the single text might be
the natural consequence. After so many years of emphasis on the single
text as the individual expression of some Gattung, the individual character of the texts could deserve more attention.29 In my opinion, Alonso
Schokel's short study of Psalms 42-43,30 compared to traditional
approaches, is a remarkable suggestion of the richness contained within
a text allowed to 'speak for itself—at least to some minimum degree of
self-expression—and not as an unhappy representative for the assumed
typical nature of some genre.
On the other hand—especially with 'original meaning' linked to the
figure(s) of the I as the ultimate question—so many texts are so hauntingly 'similar' in certain respects. Behind the singular formal-rhetorical
frame of the single composition, we immediately note many central
phenomena which link to other texts. What is immediately experienced
as a singular whole could just as well be described as an individual
compilation of stereotypes.31 'Stereotypes' could refer to phenomena of
a formal nature, for example, with regard to subunits, certain types of
phrase, and certain formal structures.32 But also, and above all when
linked to questions of the figure of the I, with regard to more material
categories there is a link with certain sets of motifs and concepts arrayed
in certain structures. When such aspects are stressed, the frame, not only
of the single text, but also of the genre as a whole, has to be widened to
include texts of different literary genres as parallel reflections of given
phenomena. A search for parallel texts, and thus for comparable
phenomena, could also result in a better ability to appreciate the singular
character of the single text.33 This is especially the case when we pay
Reading the Old Testament, pp. 140ff.
29. M. Weiss, 'Die Methode der "Total-Interpretation"', in Uppsala Congress
Volume 1971 (VTSup 22; Leiden: Brill, 1972), pp. 88-112.
30. 'The Poetic Structure of Psalm 42^3', JSOT 1 (1976), pp. 4-11.
31. R. Alter, The Art of Biblical Poetry (New York: Basic Books, 1985),
pp. 112-13.
32. Cf. especially R.C. Culley, Oral Formulaic Language in the Biblical Psalms
(Near and Middle East Series 4; Toronto: University of Toronto Press, 1967); further
I. Ljung, Tradition and Interpretation. A Study of the Use and Application of
Formulaic Language in the so-called Ebed YHWH-psalms(ConBOT 12; Lund:
Liber Laromedel/Gleerup, 1978); W.R. Waiters, Formula Criticism and the Poetry of
the Old Testament (BZAW 138; Berlin: de Gruyter, 1976).
33. Cf. Alonso Schokel, The Poetic Structure', p. 4: 'Identification of the
22
Between Sheol and Temple
attention to the inherent uncertainties in the registration and interpretation of rhetorical effects in an ancient and specialized language system.
A situation of fundamental methodological uncertainty must also be
emphasized with regard to the current trend to use terms like 'literature',
'literary' , and 'author' as catchwords to signal a special understanding
of the character of the texts.34 Such terms can be useful when opposed
to traditional and 'non-literary' approaches. With this confessional function, emphasizing the significance of data contained within the textual
frame above and instead of the traditional historical speculations, such
terms are both subjectively necessary and also meaningful. But as
expressions of some analytical categories, they may at best prove
meaningless, at worst quite disastrous. With our basic ignorance of the
character and function of ancient 'literature' and the ancient 'literary'
genres, the terms cannot but channel modern notions of 'authors' and
'literary' activity.35
To conclude: a 'literary' approach in the present study is intended to
avoid historical speculations in preference to textual data. The analysis of
these data is meant to lead in the direction of 'original' meaning and
function—so far as this aim can be linked to phenomena within the
textual frame. Ultimately, this means that one could be stuck with the
texts as sets of chiffresor as metaphor systems. In view of the attraction
of these chiffres, such a fate ought to be preferable to the traditional
exegetical practice of historical projection.
For practical reasons, the figure of the I represents the point of reference for the registration and relating of textual data. And finally, the
obvious connections between certain texts together with our basic ignorance of the meaning of the single textual datum make comparable data
"form" of a psalm should serve to advance understanding of an individual poem, and
not to dissolve it in general categories'.
34. For illustrations of the dramatic methodological changes that have taken place
in Pentateuch criticism, cf. especially R.N. Whybray, The Making of the Pentateuch.
A Methodological Study (JSOTSup 53; Sheffield: JSOT Press, 1987); further
D.J.A. Clines, The Theme of the Pentateuch (JSOTSup 10; Sheffield: JSOT Press,
1982), pp. 7-15; and H.C. Brichto The Worship of the Golden Calf: A Literary
Analysis of a Fable on Idolatry' HUCA 54 (1983), pp. 1-44. On the other hand, the
current trend invites the timely warning that also 'the literary character of the Old
Testament historical narratives' has historical consequences: N.P. Lemche, The
Canaanites and Their Land. The Tradition of the Canaanites (JSOTSup 110;
Sheffield: JSOT Press, 1991), pp. 151-52.
35. Barton, Reading the Old Testament, pp. 166ff.
1. Psalm 140: Introduction
23
from other texts essential for any interpretative effort. Practically, this
would mean that the figure of the I could be seen as a concept
embracing a number of I's contained within the individual texts.
With the emphasis on the figure of the I as the central phenomenon,
this study will immediately be connected with the biographical categories
of the form-critical approach. As related to the situation of the I as the
basic question, the texts are primarily analysed as compilations of motifs
and interrelated motif groups, with the formal structure seen as an
expression for the relationships between motifs. Moreover, the motifs
are immediately translated into biographical categories, and understood
as expressions for acts or events or aspects of a 'situation', with the I
acting in a situation or series of situations. The main difference would be
that the biographical data are limited to the textual frame, so that
'situations' refer to literary categories. Thus, the I related to Yahweh, to
the circle of enemies in human or animal form, or to the circle of the
righteous, or to temple activities, refers to situations equally 'real' as
consecutive or related events within the one dimension of textual reality.
Practically, this will also mean that it is possible to relate to and profit
from the enormous mass of observations and insights of interpretation
since Gunkel.
The emphasis on the significance of parallel expressions for the figure
of the I could also be referred to traditional methodological positions.
With the I as king, or sick, or involved in judicial procedures, data of
typicalnesshave been stressed, with the text mainly valued as an individual expression for a superior socio-historical or ritual situation.36 With
the one-dimensionality of the situation stressed, the typicalness of the
particular text could consist in some basic system of religious ideology
connected to a set of concepts expressed in a series of motifs. And given
the difficulties in translating directly from the literary reality of the texts
to some concrete situation of socio-historical or ritual reality which is
demonstrated by the form-critical efforts, the basic series or sets of
motifs could well reflect a system of religious meta-language. Related to
biographical categories connected with the I, this could imply the I as the
typical or ideal or paradigmatic figure.
36. Cf. especially the general model of Mowinckel expressed by the terminological triad of 'cult-act', 'cult-myth', and 'cult-drama' as the basic aspects of what is
typical for the concrete text, 'Det kultiske synspunkt som forskningsprincip i den
gammeltestamentlige videnskap', NTT 25 (1924), pp. lOff.; further The Psalms in
Israel's Worship I (Oxford: Basil Blackwell, 1962), pp. 15ff.
24
Between Sheol and Temple
Such a position could be related to traditional models. The idea of
democratization37 of the so-called 'Uppsala School' implies royal ideology as an established set of concepts and motifs of religious interpretation, transferable in nature: whatever the particular life problem, the
individual figure to whom the pattern is applied stands forth as the royal
I, ideologically, and thus really described in the situation of the royal sufferer. Also, von Rad's idea of 'spiritualization'38 would presuppose the
idea—at least in certain central aspects—of the text as an expression of
super-individual categories. With the text as 'kultisch-agendarisch gebundeneRede', the personal experience is expressed 'nur stark gebrochen in
einem kultisch konventionierten Vorstellungs- und Phrasengut'.39
With this background, different sets of terminology could be applicable
to describe the character of what is common for a number of texts.
'Mythical', 'ideological', 'metaphorical', recently also 'symbolical'40 in
connection with modern sociological categories41—related both to a primarily ritual or to a conceptual background—could all represent relevant
terminological approaches to the common 'something'. Whatever term
seems best suited to describe some concrete aspect, the number of individual expressions for the biography of the I indicates it to be supremely
applicable for forever new actualizations. This would also indicate that
religious activity and experience form an important part of the development and transmission of this biography.
Perhaps simply 'religious language' is the most flexible and un-biased
term for what is common to these texts. In one respect, however, this
37. G. Widengren, Sakrales Konigtum im Alien Testament und im Judentum
(Stuttgart: Kohlhammer, 1955), p. 41.
38. E.g. Theologie des Alten Testaments I. Die Theologie der geschichtlichen
Uberlieferungen Israels (Munich: C. Kaiser, 1961), pp. 394ff., and further Hermisson,
Sprache und Ritus.
39. Theologie /, pp. 397-98; cf. also other terms on the individual as related 'zum
Typischen' (p. 397) and described as 'die paradigmatisch Leidenden' expressing
'das Urleiden der Gottverlassenheit' (p. 398). A parallel expression for the I
as 'typical' and related to ritual categories is represented by Mowinckel, Psalms II,
p. 133 (cf. also Gerstenberger, Der bittende Mensch, p. 139) on the I as cultparticipant, defined according to the character of the special rite.
40. B.C. Ollenburger, Zion the City of the Great King. A Theological Symbol of
the Jerusalem Cult (JSOTSup 41; Sheffield: JSOT Press, 1987) with a presentation
of the terminology, pp. 19-22.
41. As especially influential C. Geertz, The Interpretation of Cultures. Selected
Essays (New York: Basic Books, 1973).
1. Psalm 140: Introduction
25
term is not flexible—and properly so: the common denominator is profoundly religious. The use of the texts may indeed ultimately reflect the
type of interest suggested by the traditional models. As solemn prayers
or even as magical incantations, the ultimate interest of the texts might
really consist in their forming part of some activity aimed at the production of some wish-fulfilment, with good health or success in some civil
or national strife as the end-result. Even so, this interest is expressed in a
type of language which, in its formal character, must be qualified as
'religious', centred in motifs which define the I as a being related to the
divine reality.
On the other hand, it should be acknowledged at the outset that the
solemn undertaking of some methodological purity as outlined above
need not be sufficient to avoid the reader's bored feeling of deja vu
when facing any new study on the I-psalms. A boring interpretation of
texts which are very much alive might not be related to the methodologically correct procedure within the established exegetical tradition, but to
the need for some fundamentally new hermeneutical model encompassing cultural experiences since World War I.
In my opinion, this dilemma is well illustrated by the impression of the
theories of Rene Girard.42 Rejected as too subjective when related to the
texts, his ideas on violence and victims—dealing with central Old
Testament themes whose theological implications43 are usually
avoided—linger with the reader. Even if an impossible model of interpretation, they remain a haunting reminder of the possible existence of
strata of meaning in the texts, left undisturbed by the traditional
approaches. Moreover, his ideas could be especially helpful in connection
with the I-psalms, where a new perspective is sorely needed, especially
one based on ideas of collective violence directed towards the scapegoat.
This is demonstrated by the self-professed non-specialist Raymund
Schwager,44 stressing the enemy constellation as the central situation for
the description of the crisis. The I surrounded by the evil is an expression for 'eine urtypische Situation—und eine universale Erfahrung'.45
42. E.g. La route antique des hommes pervers (Paris: Grasset, 1985).
43. N. Lohfink, '"Gewalt" als Thema alttestamentlicher Forschung', in Lohfink
(ed.), Gewalt und Gewaltlosigkeit, pp. 15-50 and especially pp. 39-40,49-50.
44. Brauchen wir einen Sundenbock? Gewalt und Erlosung in den biblischen
Schriften(Munich: Kosel Verlag, 1978) and also 'Eindriicke von einer Begegnung',
in Lohfink (ed.), Gewalt und Gewaltlosigkeit, pp. 214-24.
45. Sundenbock, p. 105.
26
Between Sheol and Temple
The enemy constellation applied to a private or royal or collective
situation refers to the same type of experience. As objects for the
enemies' banding together, the private I, the king, Israel, the just, the
prophet, Zion, God even, all reflect this 'urtypische' situation of collective violence, the description of which express 'eine grundsatzliche theologische Aussage'.46
This type of understanding could also illustrate the possible implications of the term 'religious language', especially when related to how
the traditional models of understanding transcribe the 'real' problem of
the I in crisis into social, material, or physical categories. The problem of
the scapegoat in Girard's universe is intensely physical. But the experience and interpretation of this problem—both by the collective's mythical projections and the victim's unmasking of the violence—transcend
categories of social and personal 'success', dealing with the ultimate
conditions of human existence. The recurrent attraction of such ideas is
remarkable.47 Even as rejected, they are lively demonstrations of the
texts as possible reflections of more profound human experiences than
usually suspected.48 This could also imply that they reflect levels of textual reality which transcend the normal application of, for example,
'historical' and 'literary' categories—especially when applied as opposites.
The very number and repetitiveness of studies on the I in the Psalms
could witness the fundamental attraction of something important still
unnamed.
46. Sundenbock, pp. 11 Iff. It is to be noted, however, that Schwager in his
application of Girard's ideas on the concrete texts differs considerably from Girard's
treatment of Old Testament texts demonstrated in la route antique.
47. The influence of the basic ideas of James Frazer must be considerable upon
this model (e.g. H.J. Lundager Jensen, 'Efterskrift', in R. Girard, Job—Idol og
syndebuk [Fredriksberg: Forlaget ANIS, 1990], p. 179). The so-called 'Uppsala
School' marks a parallel application of these ideas, especially as represented by Ivan
Engnell. The line from the Suffering King in the I-psalms to the suffering of Christ in
the New Testament (e.g. the article on suffering, 'Lidande', in I. Engnell and
A. Fridrichsen [eds.], Svenskt Bibliskt Uppslagsverk. Andra bandet [Ga'vle:
Skolforlaget, 1952], pp. 69-78) corresponds closely to that of Girard, linking the
fundamental character of Job as scapegoat to Christ
48. Cf. also the efforts to refer a number of I-texts to categories of theological and
personal conflict related to experience, represented by W. Brueggemann, 'Shape for
Old Testament Theology I: Structure Legitimation', CBQ 47 (1985), pp. 28-46 and
'Shape for Old Testament Theology II: Embrace of Pain', CBQ 47 (1985), pp. 395415; and Broyles, Conflict of Faith.
1. Psalm 140: Introduction
27
2. The Basic Motifs
The formal structure of Psalm 140 can be connected to the introductory
elements 'I say' v. 7 and 'I know' v. 13. Accordingly there are two sections of prayers (vv. 2-6 and 7-12). The second prayer section begins
with a confession to Yahweh (vv. 7a-8) and contains a gradual transition
from prayers addressed to Yahweh to 'wishes' in the third person
(vv. 10b-l 1), ending with the special v. 12. Finally, vv. 13-14 form some
kind of concluding statement of belief.
Within this structure, the situation of the I is relatively clear. He is
related to somebody 'evil' as his enemies and to Yahweh as his God.
The qualification of the enemies as evil forms an important aspect for
the text as whole. This is most easily seen in the stylized composition of
the first part, with a repeated sentence structure in vv. 2-4 and 5-6. An
introductory prayer with the verb related to a complement based on
negatively qualifying nouns ('the evil man' 2a, 'the guilty' in 5a) is
repeated in the reversed order ('the man of violence' 2b and in 5a). This
is followed by descriptive sentences introduced by 'ascer (3-4, 5b-6). The
descriptive sentences are dominated by verbs which describe the evil as
related to the I by hostile acts (except the general nominal qualification
'the proud' of 6a).
The return to negative nominal qualifications in the concluding v. 12,
which correspond to those of vv. 2 and 5a ('man of tongue', 'man of
violence'), stresses the essential significance of the qualification of the
enemies as evil for the psalm as a whole (cf. also the element 'the guilty',
v. 9a in the first enemy prayer in the second part vv. 7-12).
In this context it is interesting that we do not find corresponding positive qualifications of the I as 'non-evil'. Verse 14, introduced by 13,
forms a positive contrast to v. 12. The terms 'afflicted', 'poor',
'righteous', and 'upright' immediately contrast the negative terms of
qualification used on the enemies. The meticulous composition of vv. 2-6
concluded by v. 12 could lead us to expect a similar relationship between
vv. 13-14 and the I-elements in the rest of the psalm. But compared to
the enemy descriptions, the situation of the I is described only indirectly.
He is the object of the evil enemies' violence, and in this situation is
praying for divine help. The significance of these—seemingly selfevident—aspects is stressed by the parallel 'I say' of v. 7 and 'I know'
of v. 13.
The first element introduces a new series of prayers related to the
28
Between Sheol and Temple
enemy situation. Similar to the pattern of prayer and enemy qualification
vv. 2ff., vv. Iff. extend the prayers by qualifications of Yahweh as 'my
God', with nominal constructions (vv. 7a-8a) and a verbal sentence on
Yahweh's acts (v. 8b). Introduced by the 'I say', this suggests that the
material significance of the prayer situation is a situation of confession
and trust. Surrounded by terrible enemies, the turning to Yahweh for
help marks an act of confession, with trust in 'my God' as the contrast
to the active enmity of the evil. According to this indirect qualification,
the I presents himself as confessor in crisis.
This is supported by the second element 'I know' introducing the
final confession of vv. 13-14.
I know that Yahweh shall judge the afflicted
shall execute justice for the poor.
Yes, the righteous shall praise your name,
the upright shall dwell in your presence.
These verses are traditionally understood to have a function as expressions of confidence. Thus, the motifs of v. 14 are usually found to refer
to a ritual situation of thanksgiving. Most often this rite is placed in the
future, depending on the happy outcome of the crisis.49 But the verse—
with the function of expression of confidence—can also be thought to
refer to a concluding ritual act within the present agenda in which the
psalm is originally set.50
On the other hand, v. 14 has also been more directly related to the
context. It can be seen as a contrast to v. 12:
The man of tongue shall not stand firm in the land.
The man of violence—let evil hunt him speedily down!
This verse can refer to a situation of 'Ausscheidung der Frevler aus der
Kultgemeinschaft' and from possession of the land, while v. 14 refers to
a contrast situation of participation 'in der Gemeinde'.51 Or v. 14b is
49. E.g. Gunkel, Psalmen, p. 594; Taylor, Psalms, p. 721; Kraus, Psalmen, p. 924;
Mowinckel, Salmeboken, p. 279 (for the latter, v. 14 is a promise of future
thanksgiving in response to an oracle of salvation inferred to have taken place between
the ritual situations expressed in vv. 2-12 and 13-14).
50. To Schmidt, Psalmen, p. 246, the final situation concluding the judicial process
(cf. also Kraus, Psalmen, pp. 924, 926), by Gerstenberger, Der bittende Mensch,
p. 142 connected to the ritual 'des Bittgottesdienstes'.
51. Weiser, Psalmen, p. 560 in connection with the first sentence of v. 12 as 'ein
allgemeiner Grundsatz des Sakralrechts'; cf. also Kraus, Psalmen, pp. 925-26 on the
separate w. 12a, 14b.
1. Psalm 140: Introduction
29
thought to refer to a special judicial act immediately connected with the
acts referred to in the preceding verses, in which the asylum seeker is
granted protection against extradition.52 Or v. 14 refers to a situation of
the 'just in heaven' in 'eternal union with God in the afterlife', contrasted to the fate of the slanderers in 'Hell' v. 12.53
It is to be noted that to both of the two types of understanding, the
immediate identification of the I with the righteous and the upright of
v. 14 is taken for granted.54 Especially in contexts understood as
expres-sions of confidence, T and 'righteous' are evidently found as
inter-changeable designations in this as in comparable texts. It is natural
to suppose some kind of connection between the situation described
vv. 13-14 and the situation of the I. But in view of the direct qualification of the I's enemies as evil, the determined use of third-person
forms in the statements introduced by 'I know' should not be
disregarded.
The significance of vv. 13-14 as statements in the third-person is evident when their formal background is taken into consideration. This is
most easily seen for v. 14. This verse can be referred to a number of
stylized sayings on the saddiq in the Psalms. A group of such sayings is
constructed with saddiq in singular or plural for subject, linked with
verbs or nominal constructions, and often related to parallel constructions
with corresponding subjects, with nominal terms of religious qualification.55 Similar to the relationship of vv. 14 and 13, a saddiq saying can
be extended by corresponding sentences with Yahweh for subject,
related to human objects designated by corresponding qualifying
terms.56 Usually such sayings are statements on the fate of the qualified
52. Delekat,A.ry//e, pp. 157-58
53. Dahood, Psalms III, pp. 306-307.
54. Cf. generally Ruppert, Der leidende Gerechte, pp. 22, 39.
55. With sdmah for verb 58.11, 64.11, 68.4 and further 52.8-9, 118.15-16, in
imperative 97.12, 32.11, and with a corresponding verb 33.1. Similar sentence types
on the fate of the righteous are found 37.29 (cf. also 25-26), 92.13ff., 112.6; cf. also
75.lib, 72.7a and 125.3. Nominal constructions on the fate of the righteous 55.23
and 58.12a, 97.11 and also 37.16.
56. Aside from the compilations of contrasted sayings on the plus- and minusgroup in Pss. 34 and 37 cf. 32.10b related to v. 11, in 97.10a.b related to v. 11, 146.79b related to 8b and also 68.4, 6-7. Such sentence types with Yahweh for subject are
also found as saddiq sayings, as in the participle constructions 1.6a, 37.17b, 146.8b
and also 34.21a; with the verb in impf. 5.13, in 7.10, in 11.5a and also 34.20b, 37.33,
40; in nominal constructions 14.5b, 34.16, 37.39a.
30
Between Sheol and Temple
person. Moreover, their character as third-person statements must be
significant.57 Their formal characteristics and usage seem to indicate that
they basically refer to proverbial sayings, stating—perhaps even citing—
religious truths. In a number of cases, the saying might even represent a
traditional, 'proverbial' statement of religious truth being applied as a
citation to a new situation. But they could also represent individual ad
hoc constructions, with a formal character which defines them as statements of a certain character and function.
Such a background corresponds to the concluding position of vv. 1314, introduced by the element 'I know', with the 'yes' of v. 14 for
further emphasis. This element could be related to some ritual event as
its cause, with the 'I know' meaning 'I have experienced' or 'I have
been assured of'.58 But the formal character of vv. 13-14 points to a
more general situation of confession.59 Here, the 'I know' is to be
related to the 'I say' followed by confessions and prayers in vv. 7ff.,
thus concluding a structural development with the emphasis on the I as
confessor.
This background would also stress the significance of third-person
forms in vv. 13-14. The situation of the I is clearly one of crisis, its solution the result of the prayers as responded to by Yahweh. And the
description of the blessed fate of vv. 13-14 markedly refers to divine
intervention.60 The desired outcome cannot be taken for granted.61 With
57. Cf. especially when connected to admonishments in the second person, 55.23
and 97.11 related to v. 10, and further 34.16-23 as related to vv. 12-15, and within
Ps. 37. Due to the function of the beatitude, 1.3-6 and 112.2-10 must have a similar
function of motivation. A corresponding pattern could also be seen in the connection
between statement and challenge to praise, as in 97.12 related to v. 10, and 68.5
related to v. 4. In this context, 58.11-12 and 52.8-9 within compositions of warning
and threat addressed to the evil, and also 14.5 as related to the rhetorical challenge of
v. 6, could demonstrate a parallel negative use.
58. Cf. especially the reference to Mowinckel, Salmeboken, p. 279.
59. For comparison cf. 58.12, especially as related to v. 11, with a similar introduction as confession, here dependant on the divine intervention, and further 64.11 as
related to v. 10 and the .wfwia/i-sentences in indicative form referred to above. 62.12
has a corresponding introduction to a saying with a similar function. These forms
could provide a background for the understanding of the similarly introduced Isa.
3.10-11.
60. Cf. also the concept of saddiq-hood connected to a special ritual examination
and verdict with regard to the religious status of the cult seeker as part of special
entrance rites; G. von Rad, 'Die Anrechnung des Glaubens zur Gerechtigkeit', in
Gesammelte Studien zum Alien Testament (TB 8; Munich: C. Kaiser, 1971),
1. Psalm 140: Introduction
31
the term of saddiq in v. 14, it is natural to relate saddiq-hood and its
consequences of a special fate to the divine act of judgment described in
v. 13, that is a motif connection which can be related to the judicial
categories of the terms illustrated by Deut. 25. Iff. While the divine intervention and the fate of the saddiq cannot be taken for granted, the I
confesses his belief in Yahweh and a special fate for those 'judged' by
Yahweh. The objective character of these confessions corresponds to and
concludes the subjective first-person forms of the confessions in vv. 7a, 8.
Moreover, v. 14 can be related to v. 12 as a contrast statement on the
negative fate of the evil. Formally the two verses correspond, with qualifying nouns dominant in the sentence construction. The first sentence of
v. 12a especially, with the qualifying noun as subject, is stylistically close
to v. 14. Equally stressed, 'man of tongue' and 'man of violence' correspond to the 'righteous' and 'upright'. The two verses are linked by
their formal relationship to their context. Both verses represent a formal
rupture with regard to the preceding sentences. This is most marked for
v. 12. Verses 7-11 are dominated by verbal sentences, the evil-doers
referred to as objects of the wished-for acts. Dominated by nominal
qualifications, v. 12 stands out with a special formal character. Isolated
from the context, v. 12 would naturally be read as a statement.62 Verse
14 has a similar relationship to v. 13. While nominal qualifications are
important to both types of construction, they do not have the commanding position within v. 13 as objects for the divine acts.
Such an antithetical relationship between vv. 12 and 14 corresponds
to a typical usage for the saddiq sayings in the Psalms.63 The formal
pp. 130-35; idem, '"Gerechtigkeit" und "Leben" in der Kultsprache der Psalmen',
in Gesammelte Studien, pp. 225-47; W. Zimmerli, 'Die Eigenart der prophetischen
Rede des Ezechiel', ZAW 66 (1954), pp. 1-26; idem, '"Leben" und "Tod" im
Buche des Propheten Ezechiel', TZ 13 (1957), pp. 494-508; and also M.R. Hauge,
'Some Aspects of the Motif "The City facing Death" of Ps 68,21', SJOT 1 (1988),
pp.1-29.
61. It must be important that we do not find any formula in the first person which
corresponds to the construction saddiq hu I 'alia (cf. the references to von Rad and
Zimmerli in the preceding note). Only in the case of Job could a self-description of
this kind be construed, but then as blasphemy (32.1)!
62. Its verbs are usually read as subjunctives, but as indicatives by Weiser,
Psalmen, p. 559.
63. Aside from the repeated contrast sayings of Pss. 34 and 37 cf. especially 1.6,
7.10, 11.5; 92.13-15 with the antithetical v. 8; 32.11 as related to v. 10; 68.4 as related
to vv. 2-3; and also 55.23 followed by v. 24, 14.5a and b, 75.11, in addition to the
32
Between Sheol and Temple
relationship of the two verses and their concluding location in the text
suggest that they form parts of one antithetical saying. Their basic
elements could reflect an independent literary past as proverbial statements, now being cited. Or they represent ad hoc constructions, given a
form which qualifies them as contrasted statements of religious truth. In
either case, they refer to each other as descriptions of the fate of contrasted positive and negative groups.
This function corresponds to their present use in the context. In this
psalm, the negative and positive parts are split, with v. 12 concluding the
prayers introduced by 'I say', v. 14 enlarged by 13 as the expression of
the 'knowledge' of the I. The special function of v. 12 within vv. 7ff. is
also suggested by the compositional development. In vv. 7-12 we find a
gradual transition from prayers based on sentences with a divine subject
to 'wishes' with different third-person subjects. The final sentence of
v. 1 Ib has the enemies for subjects. This development forms a natural
transition to v. 12. Also, the motifs of the two final sentences of v. 11
correspond to those of 12a, with the enemies 'fallen' and 'not-rising',
foreshadowing the 'man of tongue' as 'not-firmly standing in the land'.
This development stresses the significance of v. 12 as concluding vv. 712. Introduced by 'I say', this part concluded by v. 12 prepares for and
contrasts with the final statement introduced by 'I know'.
In addition, the conclusion of v. 12 also relates to the first part vv. 2-6.
In this part, the meticulous composition stresses the significance of the
enemies qualified as evil, with nominal qualifications (vv. 2-5, cf. above)
which correspond to those of v. 12 and the contrasting qualifications of
vv. 13-14. This reflects an interest which corresponds to the concluding
statements.
With this background, and given the special character of the sentence
type of vv. 12-14, it is possible to understand Psalm 140 as constructed
upon the ground of a traditional contrast saying. But either as ground or
as conclusion of the literary development, the final verses are central to
the psalm. As objects of 'I say' and 'I know', these statements stress the
impression of the I in this psalm as the confessor. Also, it is essential to
this type of confession that it is expressed in third-person form, referring
to the special fate of some specially qualified group, and without any
explicit link to the situation of the I.
elaborate constructions 112.5-9 related to v. 10, and 146.7-9a related to 9b. In this
context 58.11 reflects the contents of an antithetical saying, contracting the plus and
minus-fate into one scene.
1. Psalm 140: Introduction
33
But even as a confession referring to some religious truth, vv. 13-14
must have a meaning applicable to the situation of the I. This is given by
the relationship to the contrast saying v. 12. As conclusion of the
prayers vv. 7ff. and connected with the nominal qualifications vv. 2ff., it
is obvious that the enemies of the I are identified with the negative
group of v. 12. Implicitly, the fate of the contrasted positive group should
have a corresponding relationship to the fate of the I. But while the ideological qualification of the I's enemies is immediate, the corresponding
description of the I is much more circumspect and indirect.
This reticence is natural with regard to the categories implied. The
assignation of saddtq-hood and its corresponding fate is impossible as a
self-qualification, and refers to a divine subject. Moreover, the use of
third-person statements corresponds to a situation of confession: surrounded by evil enemies, the I stands forward with sublime trust in
Yahweh. The confession to the divine judgment and the blessed fate of
the righteous as opposed to the negative fate, forms the basic expression
of this trust. On the other side, this implies that the situation described in
vv. 13-14 is also relevant for the I as the wished-for outcome of the
crisis, dependant on the divine intervention.
The compositional development must be important for our understanding of the motif usage as related to the situation of the I. The motifs
of v. 12 and especially v. 14 are the central expressions for the 'good'
and 'bad' fate as linked to the contrasted positive and negative groups.
'Praising the divine name' and 'dwelling in the divine presence' contrast
with the opposite fate of 'not-firmly standing in the land' and 'being
hunted down'. These motifs do not refer unambiguously to one type of
situation. Implicitly, the 'firmly standing in the land' of v. 12 is to be
added to the 'praising and dwelling' of v. 14 as expressions for the positive fate.64 Seen together, vv. 12 and 14 could well be abstracted into a
contrast of 'life' and 'death'.65 Especially for the negative fate, stressed
when v. 12 is related to the rest of the psalm, 'death' might seem a
64. Cf. above and concretely Kraus, Psalmen, p. 926 on v. 14 referring to
'bleibende Aufenthalt im Lande Jahwes' or to 'Bleiben im Heiligtum'.
65. Cf. the references above to von Rad and Zimmerli, both stressing the
significance of life for the concept of the saddiq as admitted into the temple; on the
other side Dahood, Psalms III, pp. 301ff. and N.J. Tromp, Primitive Conceptions of
Death and the Nether World in the Old Testament (Biblica et Orientalia 21; Rome:
Pontifical Biblical Institute, 1969), pp. 54, 94, 175, 191 on the negative motifs of
Ps. 140 as allegorical expressions for death.
34
Between Sheol and Temple
reasonable transcription of the different motifs. The use of 'firmly
standing' and 'dwelling' contrasts some kinds of permanency and
impermanency.66 The motifs of v. 14 refer immediately to temple categories, alluding to a special type of 'remaining in the temple'. This
'remaining' is defined as a permanent relationship to the divine presence. Thus, at the very least, v. 12 would describe the opposite of
staying in the temple, and indirectly stress the lasting character of the
special temple abiding alluded to in v. 14.67
But in the present composition, the contrasted statements on the plusand minus-fates are differently applied. The negative statement concludes
the prayers on the enemies. The positive states the assurance of the I, as
a confession of trust. On the other hand, the qualification of the I's
enemies as evil and thus as qualified for the negative fate indirectly suggests that the blessed fate of permanent relationship to Yahweh also
represents the possible outcome of the I's crisis. Dependent on divine
intervention, the state of dwelling and praising, implicitly also of firmly
standing in the land, must describe the blessed fate as possible also for
the I, while the contrasting fate of v. 12 represents the negative outcome.
This connection is also suggested by the motifs which describe the
crisis of the I in vv. 2-6. In the hands of his enemies, he is clearly on the
verge of suffering the negative fate.
The rhetorical point of the concrete motifs—as for example motifs of
war, hunt, poisonous words, 'pushing my steps'—obviously cannot be
found in any effort to describe a typical life situation. The mixture of
motif groups adds to the depiction of a completely hopeless situation,
with the I given to defeat and destruction without divine help.
The most important aspect of the function of these motifs must be
sought in the emphasis on the I as confessor within the psalm as a
whole. As stereotyped visualizations of the 'very worst which could
happen' to a human being, they make the confessions of vv. 7-8 and 1314 stand out in relief. Such a pleonastic effect could be typical for this
type of motif usage (cf. below especially with regard to Psalm 27).
66. E.g. Ps 37.9b, 11, 22a, 27b, 29, 34a on the plus group as somehow permanently related to the 'land', contrasted with sayings on the evil as somehow
'removed'.
67. For the connection of land and temple motifs cf. especially the use of the
expression 'land of the living/life' Ps. 52.7 as contrasted with the temple motifs of
vv. 10-11; and further land and motifs on the special relationship with Yahweh as
contracted 116.9, Isa. 38.11; in both cases related to motifs of death.
1. Psalm 140: Introduction
35
But in addition, we also note the motif connection between the situation of the I in vv. 2-6 and of the evil in v. 12. The concluding description in vv. 5b-6 combines 'pushing my steps' with hunt motifs,
corresponding in v. 12 with 'non-firmly standing' combined with a
parallel visualization of hunt. Surrounded by more violent motif types,
the enemies' 'pushing' would seem rather tame. But as related with
v. 12, a general motif of 'falling' or 'causing to fall' could form a special
and important motif group for the description of the negative
outcome.68
Also v. 1 Ib could be connected to these motifs. The enemies 'made
to fall into pits...never to stand up' 69 represent parallels to the I as
pushed and surrounded by traps. And v. 12 would be immediately connected with v. lib, with 'firmly standing in the land' as opposed to
'falling into pits'.70
This motif connection suggests the negative outcome as identical for
the contenders. Either the I is 'made to fall' by his enemies, or the
enemies are 'made to fall' by Yahweh.71 Contrasting with the fate of
defeat, the special stay in the temple with a lasting relationship to
Yahweh signifies the fate of victory.
68. Dahood stresses the significance of dahd not in connection with this psalm,
but as used 118.13 related to 5.11, 35.5, 36.13, 56.14, 116.8 'specifically to describe
casting someone into the infernal abyss', Psalms III, p. 158; cf. Tromp, Conceptions
of Death, pp. 172, 93, and further below to Pss. 36.13, 62.4, 118.13. The usage in
Ps. 118 is especially interesting due to vv. 5,13 and 18 as parallel narrative forms; cf.
F. Criisemann, Studien zur Formgeschichte von Hymnus und Danklied in Israel
(WMANT 32; Neukirchen-Vluyn: Neukirchener Verlag, 1969), p. 219 on vv. 5, 13
and 17-18. The past crisis is described in parallel motif groups as confinement, as
'being pushed into falling', and as being chastened by Yahweh. The special
significance of the 'pushing' is stressed by the form of v. 13 as an address to the
enemy You.
69. Or read alternatively by relating the ba'es-element to the following verb, e.g.
Kraus, Psalmen, p. 923: 'stiirze sie ins Feuer, in Gruben, dass-'; also Dahood,
Psalms III,p. 300.
70. The motif connection for the psalm as a whole is especially stressed by
Dahood, Psalms HI, pp. 301ff., who understands the motifs as metaphorical and
allegorical expressions for 'death the hunter' and 'hell'.
71. Also, the pleonastic character of the descriptions of the enemy fate corresponds to the descriptions of the I as persecuted. In both cases, any literal connection
to any actual life situation cannot be intended. The stereotyped character of v. 11 for
example is illustrated by a similar combination of motifs of fire and hunt Ps. 11.6 and
of fire and descent into Sheol in the present composition of Num. 16.
36
Between Sheol and Temple
In this way, the composition of Psalm 140 is determined by the relationship of first-person forms and third-person statements. The crisis of
the I is described as related to religious 'truths' on the fates of two contrasted types of human being. The 'personal' situation is interpreted as a
concrete representation of aspects of the 'ideological' situation. The partial identification of the two types of situation is demonstrated by the
enemies' qualification as evil, and thus as representatives for the minus
group. The I is described as object for the evil's persecution and as confessor. For the situation of the I, the divine intervention is essential.
For the character of such a relationship between 'individual' and
'ideological'72 situations, Pss. 55.23, 97.10-11 and Gen. 18.16ff. are
good illustrations. In the two psalms, different types of admonishments
in the second person are related to third-person statements on the
blessed fate of the positive group. The relationship clearly presupposes
some connection between the admonished you and the positive group.
The blessed fate of the righteous must also be relevant for the You. On
the other hand, the address as admonishment demonstrates that inclusion into the group of the righteous cannot be taken for granted. This is
illustrated by the narrative of Gen. 18.16ff. Verses 23-25 allude to dogmatic statements in the third person on the fate of the righteous, the
truth of which even Yahweh has to acknowledge.73 And the statements
are related to a concrete situation with regard to the cities' fate. But to
find concrete representatives for the ideological figure of vv. 23-2574 is
obviously quite another matter. The haggling of Abraham in Genesis 18,
leaving the verdict to the divine judge, and the rare application of the
term saddiq (6.9, 7.1)—the rarity surprising in a series of stories given
to the fathers as paradigmatic figures—could suggest that the religious
qualification of saddiq is reserved for extraordinary phenomena.
72. The concepts involved do not only refer to religious ideals of abstract nature,
but also to concrete representatives for the ideal figure. This is suggested by the
righteous addressed in the hymnic challenges 97.12, 32.11, 33.1, and especially by
the righteous referred to as a group (in e.g. 125.3 and also 52.8, 118.15-16) to which
the I can be related (141.4-5, 142.8 and especially 118.19-20) and from which the evil
are excluded (1.5, 69.28-29).
73. Also the concrete situation Gen 20.4 alludes to the term as connected with
given truths.
74. Cf. the singular form of saddiq and the contrast term rasa' vv. 23, 25, while
v. 24, referring to concrete representatives for the concept, has the term in plural form.
It is natural to relate the difference to vv. 23, 25 as allusions to given sayings, while
v. 24 represents the concrete application.
1. Psalm 140: Introduction
37
In this way, the third-person statements on the fate of the righteous as
related to the crisis of the I in Psalm 140, to an admonished you, and to
concrete figures in the Genesis narratives, form parallel applications of
the concept of the righteous. Also, the applications of Gen. 18.23ff., 20.4
and of 6.9 and 7.1 provide an immediate illustration of the significance
of the concept for the fate of those qualified: the saddiq is spared from
being killed by the divine judge. This corresponds to the descriptions of
the I in crisis and the fate of the evil in Psalm 140 (cf. above to v. 12).
On the other hand, Psalm 140 suggests that the concept of the saddiq
as spared from death is connected with the idea of some special stay in
the temple. Also with regard to the relationship to the evil, the motif
structure in Psalm 140 differs from the Genesis narratives. In Genesis,
the characters are related to the divine judge as righteous or evil, to be
destroyed or spared by divine intervention. In Psalm 140, the relationship of the actors is more complicated. Here, the divine judge is related
to contending parties, the victory of the evil meaning death for the I. By
the logic of the motifs as they are used, the divine verdict as negative for
the I would consist in letting the enemies have their way. But victory for
the I, resulting from divine intervention, means death for the evil at the
hands of the divine judge.
The different consequences of divine judgment could reflect different
applications of the concepts. Compared to the richer motif structure of
Psalm 140, the Genesis applications would centre on the divine intervention in its negative mode. The differences could also reflect historical
development, with the two types of application representing a succession
of different types of usage.75 For now, the Genesis applications can serve
for illustrations of important aspects of the concepts developed in Psalm
140.
75. Cf. e.g. Kraus, Psalmen, pp. 928-29 with separation between 'older' and
'younger' laments, the conflict accordingly related to original social categories of
'Anklage und Verfolgung', in younger texts related to religious categories of
'Veifiihrung' connected with law observance; cf. also p. 851. For the texts analysed
below, this distinction seems rather speculative.
Chapter 2
PSALMS 84 AND 36: THE PARADIGM
For the composition of Psalm 140, we found the relationship of I-forms
to third-person forms to be important. And for the third-person statements, motifs on dwelling in the temple express the fate of the positive
paradigmatic figures. The significance of these aspects can be illustrated
by Pss. 84.5-8 and 36.8-13.
I . Psalm 84
This psalm has traditionally been connected with a situation of pilgrimage. The connection is usually found to be quite substantial, with the text
giving expression to the pilgrims' subjective sentiments1 on finally
arriving at the holy city.2 The pilgrims' arrival is usually connected with
some central festival, most often some version of the 'Autumn festival'.
Only the prayers in vv. 9-10 could disturb the supposed atmosphere
of festivity and yearnings fulfilled. But they are usually given a function
subordinate to the situation of festivity.3 On the other hand, the occurrence of prayers should be an important pointer to the function of a text.
1. This 'privatisierende Stimmung' is refused by Gerstenberger, Bittende
Mensch, pp. 152-53, to whom the yearnings reflect the I as excluded from the official
cult due to sickness.
2. With v. 7 seen as expression for the concrete physical hardships involved in
the pilgrimage, the 'Baka-valley' even found to refer to a concrete spot on the road to
Jerusalem, e.g. Kraus, Psalmen, pp. 585-86; McCullough, Psalms, p. 455; or to Dan,
M.D. Goulder, The Psalms of the Sons of Korah (JSOTSup 20; Sheffield: JSOT
Press, 1982), p. 40.
3. E.g. by stressing the king's position as a central concern in connection with
the supposed festival, A.R. Johnson, Sacral Kingship in Ancient Israel (Cardiff:
University of Wales Press, 1967), pp. 104-105; Kraus, Psalmen, pp. 585-86. Or the
prayers can be seen as later additions, Gunkel, Psalmen, pp. 369-97; McCullough,
Psalms, p. 456; Gerstenberger, Bittende Mensch, p. 152 on the royal intercession.
2. Psalms 84 and 36: The Paradigm
39
Thus, both to Gerstenberger4 and Delekat,5 the prayer is decisive for the
understanding of the psalm as a whole. Given the introductory invocation vv. 9-10 must express a concern of vital interest to the I:
Yahweh God Zebaoth—hear my prayer!
give ear, God of Jacob!
God our Shield, look!
behold the face of your anointed!
If we not are to conclude that the verses are so badly localized that they
must be regarded as additional to the original text, the context suggests
that they are connected with gaining entrance to the sanctuary.6 Framed
by v. 8 on the triumphant entrance of the blessed, and v. 11 on staying
in the temple as the sublime good, the prayer introduced by the I-forms
of v. 9 must be related to the I having his yearnings of vv. 2-4 fulfilled.
There is no indication of the function of verses 9-10 in the context.
Somehow the I as related to the temple is connected with an act of
intercessionary prayer or with Yahweh's looking favourably on the king.
The character of the 'somehow' must be surmised from ideas not stated
explicitly in the text. Thus, Delekat's ingenious hypothesis does justice to
many phenomena in the text. Alternatively, the connection between the
admittance of the I and Yahweh's favour towards the king could reflect
some situation of entrance, in which the admittance of a group depends
upon the admittance of a supreme 'enterer'.7 Or the riddle could be
4. As an Individual Lament, Bittende Mensch, pp. 125-26, 'fern vom Heiligtum
gesprochen' (p. 153), with the royal intercession secondarily added to the original
prayer v. 9 (p. 152).
5. To Delekat, Asylie, pp. 242ff., the royal intercession v. 10 and the I's interest
in the royal well-being represents the very interest of the psalm: vv. 2-4 express a
retrospect on the past when the I was waiting for acceptance as 'Asylschiitzling' in
connection with judicial proceedings. Verses 5-8 are a description of the life of the
'Asylschiitzling', also this seen from a rather remote point of view. First vv. 9ff.
express 'das eigentliche Anliegen des Dichters': his period of asylum depends on the
length of the life of the king during whose reign he was accepted to a permanent stay.
6. Cf. especially the similar composition of I-forms related to temple motifs and
comparable third-person forms on the king in Ps. 61.
7. For a parallel cf. especially Ps. 118 with a We-group vv. 22-27 related to the
entering of the I vv. 19ff. Also this psalm is characterized by an urgent prayer v. 25
which seemingly disrupts a context of praise and thanksgiving. The context relates the
prayer to the situation of the I entering the special 'Gates of the Just'; M.R. Hauge,
'Salme 118—initiasjon av en Rettferdig', AT7T82 (1983), pp. 101-17.
40
Between Sheol and Temple
solved by the king of v. 10 being identical with the I of the psalm.8 Or
simply, the I as described in the psalm might reflect a special cultic
function9 or religious position10 where his intercession in favour of the
king is relevant. Whatever the relationship between vv. 9 and 10, the
prayer must be meaningful within a context of the I describing his relationship to the temple.
As in Psalm 140, temple motifs are expressed in special third-person
statements:
Blessed those who dwell in your house!
ever in praise of you.
Blessed the man whose strength is in you!
their heart set on the highways.
Going through the valley of Baka (?)
they make it into a spring
enwrapped in blessings by the early rain (?)
They go from might to might,
he appears before God on Zion.1!
The understanding of these verses is usually sought in connection with
the supposed ritual situation. Related to the yearnings of vv. 2ff., vv. 5ff.
8. Mowinckel, Salmeboken, p. 181. In this case, however, it should be noted that
the entrance is connected with general religious criteria, cf. below to vv. 5-8 together
with 13b.
9. The high-priest of Dan, or his deputy, according to Goulder, Sons ofKorah,
pp. 37-38, identical with the I of Pss. 42-43.
10. The relationship between the entering I and the We-group of Ps. 118 could
also be relevant for this type of constellation—the We obviously understanding the
fate of the entering I to be of communal significance. A parallel expression for such a
relationship could also be expressed by the connection of I-forms and admonishment
Pss. 62 and 131 (cf. Chapter 6), and also by the peculiar constellation in the present
composition Exod. 33.12-34.9 setting the 'beatific vision' of Moses in a frame of
intercession (cf. Chapter 5). Cf. also the ideas of D. Eichhorn, Gott als Pels, Burg
und Zuflucht. Eine Untersuchung zum Gebet des Mittlers in den Psalmen
(Europaische Hochschulschriften, 23.4; Frankfurt: Lang, 1972), pp. 123-24 on the I
in a special group of psalms as a cultic servant responsible for a certain type of
intercessionary and oracular functions.
11. Starting from the ancient translations, these verses have been objects to different shapings, especially vv. 7 and 8b. But the MT is understandable and reasonable
as a rendering of poetic stereotypes. The transition from plural to singular from vv. 8a
to b—usually corrected—corresponds to the transition from vv. 5 to 6. With the
connection between 6a and the concluding 13b, it is more natural to suppose these
transitions to reflect an artful composition than repeated editorial clumsiness.
2. Psalms 84 and 36: The Paradigm
41
are understood to refer to different groups of participants. Thus, reflecting
the emotions of the arriving pilgrim, v. 5 refers to the privileged class of
permanent temple dwellers.12 Verses 6-8 refer to the general13 pilgrim
whose stay is limited. With this function, vv. 6-8 are seen to reflect the
'self-comfort' of the ordinary pilgrim14 or the comforting blessing from
the privileged cult servants.15
These kinds of interpretation rest rather heavily on a foundation of
cultic suppositions. The motifs of v. 5 seen in isolation could point to a
function of blessing.16 But within the context, vv. 5-8 are linked as a
series of beatitudes, dominated by forms in the third person, in contrast
to vv. 2-4 and 9-11 dominated by first-person forms. The connection
between vv. 5 and 6-8 is also stressed by the frame of 'Yahweh
Zebaoth'—elements in v. 4 and in 9a. Within the context, vv. 5-8 should
clearly be seen as a subunit. As such, vv. 5-8 should be related to the
concluding beatitude 13b:
Blessed the man who trusts in you!
Aside from the 'asre-fonn itself, vv. 5, 6, and 13b are formally linked by
the form of the introductory sentences 5a, 6a, and 13b, with a concluding second-person element relating the blessed to the divine you:
'who dwell in your house', 'whose strength is in you', 'who trusts in
you'. And also 13b is introduced by the appellation 'Yahweh Zebaoth',
corresponding to the frame of vv. 5-8.
12. With special emphasis on the priestly group, Schmidt, Psalmen, p. 159;
Weiser, Psalmen, p. 386; McCullough, Psalms, p. 454; M. Dahood, Psalms II. 51100 (AB; New York: Doubleday, 1968), p. 278; Goulder, Sons ofKorah,p. 42; Croft,
The Identity of the Individual, p. 173; the king in addition to the priests, Mowinckel,
Salmeboken, p. 182; Johnson, Sacral Kingship, p. 103; or the group of the saddiqim
added to the priests Kraus, Psalmen, p. 584. To Gunkel, Psalmen, p. 369, the elect
group, contrasted with the I, consists of those able to visit the temple regularly.
13. To Gunkel, Psalmen, p. 369, vv. 6ff. represent a somewhat more heroic type,
namely the pilgrims with an especially long travel; to Kraus, Psalmen, p. 584, the
asylum-seeker.
14. Cf. esp. Weiser, Psalmen, p. 386; Johnson, Sacral Kingship, p. 104;
McCullough, Psalms, p. 455.
15. Schmidt, Psalmen, pp. 159-60; Croft, The Identity of the Individual, p. 173.
According to Croft, 'three categories of men associated with temple worship' are
blessed, namely the priests, the pilgrims, and the king—the latter in the form of a
prayer. The composer of the psalm belongs to the first group, whose being mentioned
first is held to be significant for the interpretation of the psalm.
16. Cf. especially Mowinckel,Psalms I,p. 47.
42
Between Sheol and Temple
This connection could also be reflected in the interplay of plural and
singular third-person forms in vv. 5-8. The singular form of v. 6a corresponds to v. 13b, both with the unusual construction 'asre 'dddm. The
plural form v. 6b corresponds to the continuation vv. 7-8a and to the
first beatitude v. 5. And the concluding singular v. 8b corresponds to the
introductory v. 6a and v. 13b.
The relationship could well be the result of a meticulous composition17
of traditional sayings forming the backbone of the psalm (cf. below on
v. 5 as related to Ps. 140.14). Their significance for the structure of
the psalm as a whole is stressed by the use of the repeated 'Yahweh
Zebaoth' elements in vv. 2, 4, 9 and 13. Probably with an introductory
function of appeal as suggested by v. 13a and v. 9a related to the
following sentences, these elements point to a composition of four parts:
vv. 2-4 (2 line MT), vv. 4 (3 line)-8, vv. 9-12, and v. 13. This would suggest a formal structure of I-forms, beatitudes, I-forms, beatitude (with the
third-person statement v. 12 preparing the final beatitude).
In any case, this relationship shows that vv. 5 and 6ff. do not refer to
sociological phenomena of different groups of people. The two beatitudes are materially parallel, referring to the same type of blessed
person. Given a connection with v. 13, the function of vv. 5-8 should
also be related to the didactic function of the beatitude. Certain qualities
are stressed as religiously positive, the persons of such qualities related to
a certain fate.18
The special qualities are described primarily in vv. 6 and 13b. Materially
v. 6a and v. 13b correspond, with the ideal figure defined by a special
relationship to Yahweh as object of trust. The way motifs of v. 6b correspond to the motifs of vv. 7-8, the ideal figure defined as pilgrim 'at
heart',19 in a fundamental relationship to the temple.
The motifs on the fate of the blessed in vv. 7-8 are usually related to
the supposed cultic setting of the psalm and correspondingly understood
as a reflection of the actual experiences of the pilgrims on their journey.20 But the motif usage points to a more general language of sacred
17. For the formal relationship of vv. 5 and 6 with 'asre followed by a participle
form and by a construction introduced by 'adorn cf. Ps. 32.1-2 as a parallel example.
18. E.g. Saeb0, THAT 1, pp. 259-60, and the compilation of forms W. Kaser,
'Beobachtungen zum alttestamentlichen Makarismus', ZAW82 (1970), pp. 225ff.
19. Cf. especially Goulder, Sons ofKorah, p. 44.
20. With Goulder, Sons of Korah, p. 39 for an extreme representation, with
statistics on the probable rainfall for the contrasted Zion and Dan pilgrimages.
2. Psalms 84 and 36: The Paradigm
43
journey. Verse 7 reflects a general structure of crisis and divine intervention on the way. Parallel types of motif in similarly stereotypical
descriptions can be illustrated by, for example, Pss. 66.10-12 (cf. the
following I-forms on temple entrance) and 126.5-6 (related to the return
to Zion). Ps. 68.8-11, Isa. 35.5-10 and the Deutero-Isaiah versions of
water motifs21 form obvious parallels as expressions of crisis and intervention to the rain motifs and the probable contrast of dryness on the
way.
The general character of vv. 7-8 is stressed by the relationship to the
religious qualities of the ideal figure of v. 6. The aspirations of the heart
given to the sacred journey (v. 6b) are realized by the journey of miracles
ending on Zion. And the relationship to Yahweh as the repository of
man's 'strength' (v. 6a) corresponds to v. 8 by the miraculous journey
from 'might' 'eel 'might' ending with the appearance 'eel God on Zion.
In this way, v. 8 combines the parallel relationship to God and to temple
in v. 6 in the image of temple entrance. The qualities of the ideal figure
of v. 6 denoting inner and volitional acts of religious attitude correspond
to a series of outer events of successful pilgrimage: the pilgrim at heart
has realized his aspiration in a story of miracles.
Verse 5 can be related to this motif development. The motifs
of dwelling in the temple and praise correspond to those of v. 8. As
an expression of a series of events, v. 5 would immediately continue
v. 7. But as a stereotyped expression for the religious summum bonum
(cf. for example, Ps. 140.14),22 it is here used as a parallel form
21. E.g. H.M. Barstad, A Way in the Wilderness. The 'Second Exodus' in the
Message of Second Isaiah (JSS Monograph 12; Manchester: Manchester University
Press, 1989), pp. 21-36, who opposes the category of 'Exodus' and 'Exodus tradition' for the automatic labelling of such phenomena. Based especially on Ps. 107.33ff.
(pp. 27-28), ancient Canaanite creation mythology is seen as the background for
Deutero-Isaiah's use of Water in the Desert—the motifs seen as 'purely metaphorical'
language (p. 37). On the other hand, a number of usages connects these and parallel
motif types (cf. the references above) to a situation of some kind of sacred
'movement' related to divine guidance or intervention. Thus, also the 'Exodus
tradition' could be seen as an individual application of a given tradition of 'pilgrimage'.
22. This implies that v. 5a is here understood as a statement on fate, parallel to b,
and not as a qualification of religious 'virtue' as could be expected from the normal
beatitude. But the motif of dwelling in the temple in 5a might have the sense of its
application in Ps. 62 (cf. Chapter 6) and thus function as a qualification of 'virtue'. In
this way, a and b would form a normal beatitude, the sense of 'od corresponding to its
use in the refrain of Pss. 42-43. But due to its location in the context, concluding
44
Between Sheol and Temple
to introduce the motif execution of vv. 6-8.23
Given this background it is natural to stress the general character of
vv. 5 and 7-8 as description of the blessed fate of the ideal figure. In correspondence with the function of the beatitude, motifs of pilgrimage and
dwelling in the temple are used as categories for the description of the
'successful' religious life.
This also suggests that the function of the beatitudes of Psalm 84 is
comparable to Ps. 140.13-14. Both types of third-person statement
express religious truths about the ideal fate of the ideal person. Moreover,
84.12 which bridges the I-forms of 9ff. and the concluding beatitude
v. 13, is formally close to 140.13-14: sentences of stating form relate
Yahweh by verbs or nominal constructions as somehow benevolent to
objects defined by qualifying nouns.24 The connection of 84.12 and 13
reflects the functional connection between the statements of 140.13-14
and the beatitudes of Psalm 84.
The parallel application of the proverbial statements supposedly cited
in Psalm 140 and the beatitudes of Psalm 84 is important in illustrating
the significance of religious qualities connected to 'religious fate'. The
nominal qualifications 'righteous' and 'upright' parallel to 'afflicted'
and 'poor' (140.13-14) correspond to the qualifications of relationship to
Yahweh as 'strength' (84.6a)or as 'trusted' (v. 13) or by motifs of 'way'
(v. 6b) and 'perfect walking' (v. 12b) as comprehensive descriptions of
the religious ideal. As such, the ideal figure is related to the ideal fate of
a special relationship to Yahweh in the temple.
For our understanding of this special relationship, 84.6-8 is interesting
as related to v. 5 and 140.14. The parallel motifs of dwelling and praise
in formally independent sayings suggest that 84.5 and 140.14 reflect
stereotyped forms and concepts.25 Staying in the temple, praising
God, represents the model 'good fate'. But through the meticulous
vv. 2-4 and introducing the following beatitude with related temple motifs, it is
difficult to understand 5a to refer to a critical situation!
23. In addition, the motif of temple dwelling also formally links the introductory
I-forms, vv. 2ff., to the beatitude, the former ending with the imagery of the swallow
as the lucky 'temple-dweller'. The relationship of v. 5 as a comprehensive motif
application and vv. 7-8 as a detailed one, can be compared to 27.4 as a relatively
independent saying followed by vv. 5-6.
24. Cf. Chapter 1, note 56.
25. This could also be reflected in the formal influence of 84.5 for vv. 6-8 as
dominated by plural forms in spite of the singular form in the introduction 6a and the
conclusion 8b.
2. Psalms 84 and 36: The Paradigm
45
composition of 84.5 and 6-8 the stereotypical expression of the ideal fate
is linked with motifs of pilgrimage and temple entrance. The model situation of temple stay presupposes a more extensive model story, encompassing a journey which ends before God on Zion, moreover a
miraculous journey which includes events of crisis and crisis overcome.
The parallel function of the statements 140.13-14 and the beatitudes of
Psalm 84 is stressed by the parallel relationship to I-forms. In Psalm 84
the relationship is more direct, due to the use of Temple motifs in vv. 24 and v. 11:
How lovely are your dwellings, Yahweh Zebaoth!
My soul is longing, even pining for the courts of Yahweh.
My heart and my flesh are crying towards the living God.
Even the birds have found a home,
for the swallow there is a nest
to place her young at your altars,
Yahweh Zebaoth, my King, my God.
For a day in your courts is better than a thousand!26
I choose standing at the threshold of God's house
before dwelling in the tents of evil!
As in Psalm 140, the third-person forms on the ideological situation are
formally kept separate from the description of the I-situation, as separate
types of statement. The I is not identified with the blessed group of
temple-dwellers nor the blessed pilgrims on their miraculous journey.
On the other hand, the composition as determined by the relationship
of first-person forms and third-person statements is more easily seen in
this psalm. The repeated appeal to 'Yahweh Zebaoth' vv. 2,4, 9, and 13
links the four subunits functionally as parts within one address. But
above all, the temple motifs immediately link the two types of situation.
With single-minded concentration, the I is defined by his yearning to
stay in the dwelling of Yahweh. In this way, the description of the I represents a concrete application of aspects of the model situation of vv. 58. As 'longing' (vv. 2ff.) and 'choosing' (v. 11) the I represents a
situation on the 'outside' compared to the happy birds of v. 4 and the
26. With regard to the construction tob-yom cf. especially Goulder, Sons of
Korah, pp. 46ff., who equates it with yom-tob as a technical expression for 'feast
day'. But the similar elliptical construction tdb-me'at with the preposition min
(Ps. 37.16-17) supports the traditional understanding of the first sentence of v. 11 as
a stereotyped saying. Here the elliptical form prepares the more concrete following
statement in v. 11.
46
Between Sheol and Temple
blessed dwellers vv. 5-8. Corresponding to the use of 140.13-14, the
blessed fate of vv. 5-8 depends on divine intervention, here connected
with the miraculous journey.
Only with regard to the qualification of the blessed in vv. 6 and 13b
(cf. also 12b) can a more direct linkage be found by the motifs on the
temple and the relationship to God. As he is described in vv. 2ff. and 11,
the I certainly comes across as someone with 'highways in his heart'.
That these self-descriptions not do represent sentimental outpourings,
but an individual application of a religious ideal, is seen by the contrast
of 'a day' and 'thousand' which prepare the contrasting of a humble
relationship to the temple to 'dwelling in the tents of evil'. We find a
similar contrast in the self-qualification Ps. 26.3-8 (cf. below).
Corresponding to the contrast of temple and sheol in Psalm 140, temple
and evilness are related as two contrasted localities for the I's 'dwelling'.
By 'choosing' the temple as the object of his aspirations, rejecting the
negative ideal of evilness, the I stands forth as the confessor.
The relationship of an objective religious ideal and the I as an individual representation of aspects of this ideal is also expressed by the
localization of v. 12 in the context:
For Yahweh God is Sun and Shield.
Yahweh gives grace and glory,
no good is withheld for those who walk in sincerity.
On the one hand, this verse corresponds to the objective statements of
Psalm 140.13-14 on the fate of the ideal figures, here designated by the
element 'who walk in sincerity'. Thus, as to form, v. 12 is immediately
linked to the following beatitude on the ideal figure, here designated by
the element 'who trusts in you'. On the other hand, v. 12 is related to
the I-forms in vv. 9ff. The introductory ki links it to the preceding v. 11
which is similarly introduced. Followed by the Yahweh Zebaoth-element
in v. 13, the verse concludes vv. 9-12. With this function, the element
'who walk in sincerity' corresponds to 'dwelling in the tents of evil'
(v. 1 Ib) as stereotyped contrasts for the negative and positive ideals. As
in Psalm 140, the I is related to two contrasted types of being. In Psalm
140, this contrast is expressed by the I, persecuted by his enemies, as
related to two opposed groups of the righteous and the evil. In 84.11-12,
the situation of the I is qualified by the contrast of the positive group of
'walkers' and the negative 'dwelling'. Formally linking the I-forms of
v. 11 and the beatitude v. 13, the function of v. 12 is thus comparable to
that of Ps. 140.13 in the context.
2. Psalms 84 and 36: The Paradigm
47
The meticulous composition of vv. 11-13 also stresses the impression
of the I in this psalm as confessor. While the I of Psalm 140 is related to
the evil as enemies, the relationship to the negative ideal in Psalm 84 is
described by the I 'choosing' between the positive and negative ideal.
With temple and the 'tents of evil' as two contrasted localizations for the
I's 'staying', and the significance of the temple stressed by the rest of
the psalm, the act of choosing represents an important act of confession.
This could explain also the reticence in identifying the I of this psalm
and Psalm 140 with the positive ideal group. Compared to the blessed
dwellers, the I represents a being 'in between'; orientated towards the
temple, but still on the outside in a state of yearning. In both psalms, the
difference between outside and inside is connected with the divine intervention. The divine intervention as related to the I is expressed in the
form of the enemy prayer in Psalm 140, while the function of Ps. 84.910 is more uncertain. In both psalms, the intervention as stated is connected with the third-person statements. Thus the beatitudes of Psalm 84
as cited by the I in connection with his own situation must have the
function of confessions (as in Ps. 140.13-14). This is most clearly seen in
v. 12 bridging the I-forms and the beatitudes, with the statements about
Yahweh's acts with regard to the 'walkers' cited as a motivation for the
I's choice of orientation.
With this background, vv. 2-4 represent an individual application of
the religious ideal, with the I as confessor as the actualization of the
model figure. This does not mean that we should disregard the aspects
of subjective feeling expressed in these very moving sentences. On the
contrary, as described in these powerful verses the I represents a truly
remarkable figure of religious experience and feeling. Verse 11 demonstrates that the inner commitment also includes choice and exclusion of a
negative ideal. The intense subjectivity of the I-forms connected with the
objective forms of given religious truth must be important for the character of the confession. Indirectly, this must also have repercussions for
our valuation of the religious milieu in which such descriptions were
created.
This is also illustrated by the relationship of vv. 5 and 6-8. In this
composition, the stereotypical allusion to dwelling in the temple in v. 5
(cf. Ps. 140.14) is extended by motifs of a sacred journey of crisis and
miraculous intervention, ending with the triumphant entrance on Zion.
The motifs suggest a series of successive events in a model story of pilgrimage, the inner attitude of the blessed man with the 'highways in his
48
Between Sheol and Temple
heart' (cf. 'walking in sincerity', v. 12b) connected to a story of divine
intervention, with temple entrance and dwelling for the final events of
the story.
This motif development also suggests that the temple motifs have a
special function. Connected with the motifs of inner commitment and
miraculous pilgrimage, and contrasted to the 'tents of evil' as the alternative localization for the I's 'staying', the significance of temple in this
text should not be related to an actual journey to some ritual event for
its immediate meaningful reference. This, of course, does not exclude a
background of ritual language, nor could one deny ritual application for
the text once created. The type of language represented by Psalm 84
could be as applicable to rites of temple procession as it is to an institutional situation of admonishment or of individual/communal contemplation. For such types of later application, the I-form would function as a
literary vehicle for a process of identification by the cult participants or
'users'. Fundamentally, the way and temple motifs must be understood
as a reference to religious orientation and total life commitment, with the
relationship to the temple signifying some comprehensive type of via
religiosa.
2. Psalm 36
While there is a general agreement on the formal character of the main
parts of this psalm, the coherence and the genre of the composition as a
whole has been much debated. The main problem concerns the relationship between the description of the evil in vv. 2-5 and the hymn in
vv. 6-10. These uncertainties are added to by the hymn being connected
to the prayers of vv. 11-12 and to the final description of the destruction
of the evil v. 13.
An original coherence can be refuted27 or sought by derivation from
a supposed cultic setting.28 When more literary categories decide the
27. Schmidt, Psalmen, pp. 67-68; Taylor, Psalms, p. 187.
28. As connected with enemy motifs, the hymn and the prayer are characteristic
for a 'Psalm of Protection' connected with the 'Enthronement Festival' (Mowinckel,
Psalms I, pp. 164, 220), or connected with a 'Covenant Festival' (Weiser, Psalmen,
pp. 205-206; Croft, The Identity of the Individual, p. 159 [the latter attributing a
function of warning to the I as a cultic prophet]). According to Delekat, Asylie,
pp. 239ff., vv. 2-5 cites the original 'Aufnahmeorakel' accepting the I into asylum, the
psalm as a whole understood as a prayer for a prolonged stay as 'Asylschiitzling'
2. Psalms 84 and 36: The Paradigm
49
analysis, the prayer elements of vv. 11-12 are usually found to be
decisive. Thus, the psalm is described as an individual lament, usually
found to be influenced by forms of Wisdom.29
In the context of Psalms 140 and 84, vv. 8-10 are of special interest:
How glorious is your grace!
Gods and men seek refuge in the shadow of your wings.
They saturate themselves with the fat of your house.
From the torrents of your delights you water them.
For with you is the fountain of life.
In your light do we see light.
Comparably to Pss. 140.13-14 and 84.5-8, 12-13, these verses state general religious truths on the favourable fate for a group mentioned in the
third person. As in Pss. 140.14 and 84.5-8, the blessed fate is expressed
by motifs of entrance to and dwelling in the temple. Also in Psalm 36,
these assertions are related to the situation of the I in crisis through the
connection with the prayers of vv. 11-12:
Prolong your grace for those who know you!
your righteousness for the upright of heart.
Let not the foot of pride come upon me!
nor the hand of the unjust make me flee!
And, comparably to 140.12-14, with contrast statements ending the
prayers, these forms are concluded by v. 13 on the negative fate related
to a contrast negative group described by qualifying nomina:
There they fall, those who do evil,
they are pushed down, they can not rise.
(literally expressed by v. 11!), after the death of 'des Asylherrn' normally should
have ended the period of asylum. Also Kraus, Psalmen, p. 284 stresses the connection between the temple as asylum and the prayer, with the 'fleeing' of v. 12 as a
'fleeing' away from the sanctuary.
29. Cf. especially N.H. Ridderbos, Die Psalmen. Stilistische Verfahren und
Aufbau. Mit besonderer Berucksichtigung von Ps. 1-41 (BZAW 117; Berlin: de
Gruyter, 1972), pp. 260ff.; further Kraus, Psalmen, p. 281; Gerstenberger, Der bittende
Mensch, p. 118. Also to Mowinckel (cf. the preceding note), vv. 2-5 has the function
normally expressed by enemy complaints. To M. Dahood, Psalms 1.1-50 (AB; New
York: Doubleday, 1966), p. 218, 'the coexistence of these literary types' (Wisdom
elements, hymn, lament) 'points up the limitations of the form-critical approach'.
30. Weiser, Psalmen, p. 205, while 'there' usually is found to be meaningless in
the context and most often emended according to Gunkel's proposal sdmemu, while
Dahood, Psalms I, p. 224 equals the word with El Amarna summa 'behold!'.
50
Between Sheol and Temple
The common structure must be important for the understanding of these
texts. This seems the more the case as the expressions for the common
structure vary. Thus, in 140.13-14, the religious truths are in the form of
statements introduced by 'I know', and in 84.5-10 in the form of beatitudes. In Psalm 36, the third-person statements are addressed to the
divine you, framed by the hymnic introduction on the divine grace and
concluded by the we-forms of v. 10.31 On the other hand, v. 13 as a
saying on the fate of the negative group, which contrasts with the positive vv. 8-10, has a general stating form corresponding to 140.12, 13-14.
But the group related to the temple blessings in vv. 8-10 is not,
seemingly,32 described by general religious qualifications corresponding
to the terms of 140.13-14 or the elements 84.6, 12b, 13b. 'Gods and
men' are here the favoured ones, parallel to the equally comprehensive
'man and beast' in v. 7b. Instead, we find the expected religious
qualifications in the immediate context. In the introductory prayer v. 11,
the nominal terms 'those who know you' and 'the upright in heart' correspond to the qualifications of Psalms 140 and 84. In the present context of prayer and the preceding hymn (cf. below), the sentences are
closely related. And the relationship is stressed by the concluding sentence v. 13, where the term 'those who do evil' corresponds negatively
to the nominal qualifications of v. 11.
Given this background, we can conclude that the individual forms
represent some common basic material. At the very least, the common
phenomena are discernible as a set of common concepts and motifs
which describe the fate of qualified persons. For this description, temple
motifs seem to be basic. Moreover, the three psalms suggest some kind
of relationship between two parallel sets of religious qualification and
According to BOB (1979), p. 1027, the usage here and Ps. 14.5 represents the poetic
'pointing to a spot in which a scene is localized vividly in the imagination'. Due to the
motif connection between vv. 12 and 13, the word could in the present composition
have the meaning as when preceded by the relative 'aster, i.e. 'where', 'there where'.
31. On v. 10 as concluding the hymn as a whole and preparing the transition to
the following prayers see Ridderbos, Psalmen, p. 265.
32. 'Man' and 'beast' with an immediate function as the first pair of concrete
illustrations of the divine justice and grace spanning the highest and lowest, could also
play upon special connotations. Thus, Ps. 73 which is relevant also for the understanding of Ps. 36 (cf. below), qualifies the I without the miraculous 'knowledge' as
an 'animal' (v. 21, cf. also Ps. 49.13, 21). With such a function, also the second pair
of 'gods' and 'men' might have a secondary alluding function, referring to stages of
religious development.
2. Psalms 84 and 36: The Paradigm
51
fate: Psalms 140 and 36 describing two sharply opposed groups of religious being, Psalm 84 two opposing modes. Thus, the three psalms seem
to represent individual applications of the common material. The differences do not only refer to formal characteristics, but also to more material aspects. Thus, Psalm 84 is given to the positive aspects of the motif
structure, while Psalm 36 is dominated by the negative aspects (cf.
below).
In addition, the relationship between Pss. 140.12-14 and 36.8-10, 13
also suggests that the common material of concepts and motifs could be
related to some basic types of form. The differences of individual application seen together with common elements and formal structures stress
the importance of the sentence types of 140.12-14, with simple statements based on nominal qualifications and verbs describing the fate of
the qualified. The formal development of these forms in the context—
supported by the third-person statements of Psalm 84—suggests the
sentence type where the nominal qualification has subject-function to be
especially important.33
Finally, the usages in the three texts are also suggestive with regard to
the function of the common material. The common context of thirdperson statements and prayers in the I-form must express some kind of
application of the religious truths to the situation of the I. The prayers
represent the I relating his fate—in subjunctive form—to the given
pattern.
For such a connection between prayers and stating forms, Psalm 36
is of special interest. Here, the parallel 'your grace' and 'your righteousness' of v. 11 immediately link the theme of the prayer to the theme of
the hymn (cf. vv. 6-7, 8).34
The formal relationship between the prayers of vv. 11 and 12 is comparable to 84.9-10, with I-forms related to third-person forms. 36.11
could also have a rather independent function as a special intercession.35
But due to the general character of v. 11 in addition to the special
33. In 36.7b (cf. also the prayer of v. 11) we find the other sentence type with a
divine subject, corresponding to 140.13. The two applications of this sentence type
are remarkably similar. In both cases they make parallel statements, formally
separated (cf. the 'Yes' of 140.14 and the introductory hymnic exclamation of 36.8)
from the other sentence type.
34. Cf. especially Ridderbos, Psalmen, pp. 266-67.
35. E.g. Kraus, Psalmen, p. 284, to whom the I 'fraglos' understands himself as
part of the special group referred to.
52
Between Sheol and Temple
significance of the qualifying terms of v. 11 in this sort of context, it is
natural to understand v. 12 as the concrete prayer. As an introductory
prayer, v. 11 connects the theme of the hymn and the real prayer.36 In
addition, the we-forms of v. 10 which conclude the hymn probably have
a similar preparatory function, as a link between the third- and firstperson forms.
In this way, the relationship between hymn and prayer provides a
concrete illustration of how the general truths are applied to the situation
of the I. Related to the divine intervention, it obviously is not 'done' to
apply the third-person statements directly to the concrete situation. The I
cannot be immediately identified with the blessed group. Only divine
intervention makes this identification possible. Thus, the prayer represents
the indirect application—in subjunctive form—of the religious truths
confessed in the hymn.
The use of the nominal qualifications—which 'really' belong to the
stating sentences in the third person—in the introductory prayer v. 11 is
a concrete expression for the material connection between the paradigmatic situation as stated in vv. 8-10 and the individual situation of the I
in v. 12. Within this compositional development, the prayer represents
an application in subjunctive form; the I asking for the fate of the
paradigmatic figures. This also means that the prayer ultimately must be
related to the kind of temple dwelling which describes the blessed fate in
vv. 8-10. The crisis of the I must—at least as related to the paradigm—
have been a crisis connected with admittance to or dwelling in the
temple.
But on the other hand, when we turn to the motifs of the prayer, they
are exclusively enemy motifs. According to these motifs, the crisis of the
I consists in his being attacked by evil and superior enemies. And the
divine intervention must consist in the enemies being restrained.37
For this and comparable texts, the traditional understanding has given
priority to the enemy motifs as the most concrete indication of the situation of the I. Only in connection with the asylum theme—explored
36. Cf. Ridderbos, Psalmen, p. 266 on v. 11 as 'Ubergang'.
37. It is difficult to relate the concrete enemy motifs of v. 12 to any concrete
situation. For Kraus, Psalmen, p. 284, v. 12a represents the royal motif of Ps. 110.1;
for Dahood, Psalms I, p. 224, the imagery of the chase as in Ps. 35.8. Thus, neither
Birkeland, Die Feinde, pp. 140-41, stressing national enemies or Delekat, Asylie,
p. 240, stressing individual enemies of an I in financial trouble, invoke the concrete
motif usage as basic for their understanding.
2. Psalms 84 and 36: The Paradigm
53
primarily by Delekat38—has a model been expressed which could
combine both aspects: on the one hand the gravity of the enemy situation, on the other hand this situation related to the special significance of
staying in the temple as an expression of a special wished-for state.39
The meticulous composition of vv. 8-10 and 1 Iff. suggest that enemy
and temple motifs are related in this text. This could also be expressed in
the prayer of v. 12 as concluded by v. 13:
Let not the foot of pride come upon me!
nor the hand of the unjust make me flee!
There they fall, those who do evil,
they are pushed down, they can not rise.
'Making me flee' in v. 12b could simply be an expression for 'defeat',
in immediate continuation of 12a. On the other hand, due to the connection with motifs of locality in vv. 8ff., it is noteworthy that the motifs of
v. 12b taken literally describe a negative movement from a given place.
This literal sense is supported by the special form of v. 13. As we have
seen, v. 13 represents basically a contrast statement, negatively related to
the stating sentences of vv. 7b, 8-9. Sentences of this kind can be differently applied within the individual composition. In this case, the introductory 'there' makes the statement meaningless unless a special place is
referred to. And with the local categories of v. 12b preceding v. 13, the
'there' makes v. 13 an immediately meaningful part of the prayer.40
Left alone to the superior enemies, the I would flee to a place of 'falling'
and 'pushing' and 'no rising'.
Such a use of nud could be compared to Ps. 11.1. There also the
'fleeing' is related to the attack of the unjust (v. 2). Further, the situation
of the I in Psalm 11 is also related to general statements on the fate of
the two contrasted types of religious being (vv. 4-7). Given this background, it is significant that the challenge to 'flee' is sharply contrasted
to the confessional statement 'With Yahweh I take refuge!' in v. 1. Such
a motif contrast of 'taking refuge' and 'fleeing' corresponds to the
motifs of 36.8-10, 12 (cf. the use of hdsd in the introductory statement
38. Cf. also below to Eichhorn, Gott als Pels.
39. To the latter aspect Delekat, Asylie, pp. 194-256 on the asylum-seekers as
cultic servants of lower rank ('Schwellenhuter und Tempelsanger').
40. The localization of v. 13 corresponds to the contrast statement 140.12 which
also concludes preceding prayers, cf. above.
54
Between Sheol and Temple
v. 8). The I as fleeing suggests a situation opposite to the blessed fate of
dwelling in the temple.41
The description of the negative fate in Ps. 36.13 corresponds to the
statements of Ps. 140.12 (and also partly v. 11, cf. above), with ndpal
and non-gum corresponding to ndpal in hiph. form, non-gum and nonktin. Moreover, both the motifs of 'falling' and 'being pushed' (36.13)
link to the description of the I under attack in 140.5.42 It is evident that
these texts—especially with regard to the stating sentences in the third
person—reflect given sets of concepts and motifs.
With this background, it is especially interesting that Ps. 36.11-13 suggests that the negative fate also can be described in categories of locality.
Connected to the immediately preceding third-person statements, the I is
thus related to the two contrasted localities of temple and a 'place' of
falling. The significance of the two localities is illustrated. The temple is
qualified as a place of life (v. lOa), while the motifs of v. 13 ultimately
must qualify the negative 'there' as a place of death. Moreover, the
implied contrast of localities corresponds to Ps. 84.11. Here the I is
related to two types of dwelling, either 'in the house of my God' or 'in
the tents of evil'. The motif of the 'negative locality' is differently used in
the two texts. In Ps. 36.12-13 the motif refers to fate connected to the
enemy situation. In Ps. 84.11 the motif refers to 'volitional' categories of
confession, the I choosing between and preferring the one place before
the other. But ultimately, the two types of use refer to different aspects
of the same concept.43
41. Cf. the comparable contrasts of Kraus and Delekat, who both understand the
'fleeing' concretely, related to the state of asylum in the sanctuary. For similar usages
cf. also Jer. 49.30, 50.3 with nud contrasted with yasab. For the motif relationship of
Ps. 36.12 and 13, Gen. 4.12, 14 could represent an interesting parallel. There being
nd' wdndd, 'on the earth', expanded by 'being driven away from the soil' and
'hiding from your presence', leads to a situation where the 'fleer' is under constant
threat of being killed. Moreover, here the negative situation is directly described as
relationship to a locality, the land Nod arrived at after leaving the divine presence
(v. 16). The hints of Ps. 11.1 and 36.12-13 together with the elaborate story of Gen. 4
could point to a common religious 'topography'!
42. Both for 140.11-12 and 36.13, Dahood, Psalms I, p. 224, finds given motifs
of death: ddha has a 'special reference to Sheol', and gum means rising from Sheol
(cf. also Psalms HI, pp. 304ff. and further Tromp, Conceptions of Death, pp. 93-94).
43. The parallel imagery of the 'Alien woman's house' of Prov. 2.16ff., 5.3ff.,
7.5ff. could provide a good visualization of the two aspects of the negative locality,
with the 'house' as a place of temptation and as opening into Sheol.
2. Psalms 84 and 36: The Paradigm
55
The relationship between the motifs of vv. 8-10 and 12-13 also
immediately connects the temple and enemy motifs as parts of the same
motif-development. They do not refer to separate aspects of reality, with
for example the enemy motifs as the more concrete expressions for the
'real' siuation of the I, but refer to the same 'reality': The I longs to
dwell in the temple, the enemies drive him away from the temple to the
negative place, and the divine miracle is the solution to the crisis.
In detail, the negative fate as caused by the enemies is differently
described in Psalms 36 and 140. In 140, the effect of the enemies is
direct, as for example 'pushing' and 'setting bait by the wayside'. In
Psalm 36 the effect is more indirect: the enemies causing the I to flee to
the place of 'pushing'. The difference could depend on individual expositions of the same basic motifs, or on different types of event within the
given motif structure.
In any case, the similarities between the two texts point to a common
basis.44 As related to a common set of concepts, the I of this psalm is
clearly described as a being 'in between', confessing the blessed fate of
dwelling in the temple, but given to the negative fate save for the divine
intervention. This also corresponds to the peculiar relationship between
first- and third-person forms of this text and Psalm 140 (cf. also in Psalm
84), and explains why the I cannot be directly identified with the blessed
group of temple dwellers. Within the motif execution of these texts, the I
related to his enemies is given to doom. The prayer, relating the I to
divine grace, represents the possible positive fate. The motif of 'fleeing'
is especially interesting in this connection. While Psalm 84 is given to the
motif of pilgrimage, the I confessing the paradigm of the blessed on the
way to the temple, 36.12-13 represents an opposite movement of defeat,
from temple orientation towards a 'place' of falling.
The I as a being 'in between' could, in this text, also be related to the
peculiar introduction vv. 2-5:
A saying of sin to the unrighteous
is in the middle of my heart.
No fear of God is before his eyes.
For in his eyes, one deals smoothly with him
on finding his iniquity hateful (?)
44. Cf. also below to a third type of motif execution Ps. 26.9, with a divine subject
for the negative fate described as 'togetherness' with the evil, and further the
'together'-formula of Pss. 28.1; 88.5; 143.7; Ezek. 26.20; 31.16; 32.18, 24, 25, 29,
30; and also 31.14.
56
Between Sheol and Temple
The words of his mouth are mischief and deceit,
he has ceased to consider to do good.
Mischief does he ponder in his bed,
he stands himself on a road which is not good,
evil does he not reject.
In a context where lively complaints on the enemies are to be expected,
vv. 2b-545 give a general description of the characteristics of the rasa'.
Aside from the introductory, and usually emended, 'in the middle of my
heart' in 2a (cf. below), the acts of the unrighteous are not related to the
I, but are presented as a general catalogue of vices. The hymn on the
divine grace in vv. 6-10 seems rather abruptly added to this description.
Psalm 52 could serve for a parallel to the structure of 36.2-5 and
vv. 6-10.46 Save for the second-person forms, the statements on the
character and fate of the mighty 52.2-7 (with 8-9) correspond to the
description of 36.2-5, 13.47 The contrasting self-description of the I followed by forms of praise 52.10-11 could have a function corresponding
to the hymn of 36.6-10.48
The two texts clearly are related. But in comparison, Psalm 36 has a
special character as not concluded by the hymn, but by forms which
reflect the I in crisis.
Related to the motif structure of Psalms 140 and 84, however, the
complicated composition with description of the unrighteous (vv. 2-5),
hymnic elements (6-10) and prayers (11-13) could be meaningful. The
third-person description of the unrighteous contrasts with the thirdperson description of the blessed group of vv. 7b and 8-10.49 Thus, they
describe the two contrasted paradigmatic types of religious being, which
are relevant to the present situation of the I. Similarly to the application
of the negative paradigm in Psalm 140, the nominal qualifications in the
I-forms (v. 12) directly identify the enemies of the I with the negative
45. Usually understood to have the function of the normal enemy complaint.
46. Croft, The Identity of the Individual, p. 158, stresses the connection between
36 and 52.
47. The immediate connection between vv. 2-5 and 13 is illustrated by Schmidt,
Psalmen, p. 67, who understands these verses as an original unit '36 B', cf. also
Taylor, Psalms, p. 187.
48. Cf. also concretely the introductory challenge 52.2 connected with a reference
to the divine grace, corresponding to the theme of 36.6ff.
49. Cf. especially Taylor, Psalms, p. 187, on the text as composed of two originally independent units, the present composition setting forth 'in bold relief the two
conflicting ways of life'.
2. Psalms 84 and 36: The Paradigm
57
ideal. In this respect, the formal character of vv. 2-5 with its detailed
description underlines the formal difference between enemy-descriptions
contained within first-person forms and the third-person qualifications of
the evil. The third-person statements obviously express the negative
paradigm, while the negative qualifications of 'my enemies' represent
concrete applications or actualizations of the negative ideal as related to
the situation of the I.
Similarly, the third-person descriptions of the positive group must represent the contrasting positive paradigm. This is also applied to the individual situation. We have earlier found reason to stress that religious
truths as stated by the I have a confessional function. Related to two
types of religious being, the I separates himself from the negative ideal,
orientating himself towards the positive ideal of the blessed temple
dwellers. The prayer is the concrete expression for this orientation. With
the enemies of the I qualified as evil, the qualification of the I as related
to the positive ideal is stressed.
The composition of Psalm 36 underlines the probability of such an
understanding. The formal independence of the description of the evil in
vv. 2-5 within the composition stresses the significance of the enemies
qualified as evil. And the description of the positive paradigm in the literary frame of hymnic address corresponds to the third-person statements as confessions in Psalms 140 and 84.
Compared to Psalm 84, Psalms 140 and 36 represent both the positive and negative figures of paradigm. On the other hand, Psalm 36 being
formally dominated by expressions for the negative aspect, could form
an application which reversely corresponds to the beatitudes of Psalm
84. Thus, the psalm is characterized by the frame of statements on the
qualities and fate of the evil in vv. 2-5 and 13. Conceptually closely
related, as connected statements on the religious character and fate of
the evil, their introductory and concluding location must be significant
for the composition. Moreover, this 'negative' character corresponds to
the motifs of the prayer in v. 12, with the I threatened by the negative
movement towards the evil-doers' place of falling.
This could also be related to the much-discussed introductory line of
v. 2a. Starting with the ancient translations, the special form of 2a has
invited rather differing renderings. Given this uncertainty as to meaning,
it must be important that we find corresponding uses of ne 'um in other
texts. With its introductory locality, the construction ne'um - pcesa'
lardsa'of 2a corresponds immediately to the similar constructions in
58
Between Sheol and Temple
Ps. 110.la50 and Prov. 30.1. Formally, this could even characterize 2a as
an introduction to an oracle cited in what follows. And as a nomen
qualified by the proposition le, the parallel constructions would suggest
the rasa' as the addressee of the oracle, given 'to the unrighteous'.
Accordingly, instead of the usual proper name, 'sin' as nomen rectum to
ne'um would designate the source of inspiration.51 And the concluding
first-person forms of the MT could even reflect the mediator of
revelation.52
According to this understanding, the following verses would express
the cited oracle. On the other hand, vv. 2b-5 together with 6-13 as an
oracle, with its very proper contents, could hardly have 'sin' for source.
Thus, for the introductory construct ne'um - pcesa', it has been proposed that the nomen rectum designates the object of the oracle, as an
'oracle on sin'. This is possible, although rather unsatisfactory in view of
the formal connection with the similar constructions of Ps. 110.1 and
Prov. 30.1. Thus, the usual understanding of the nomen rectum as the
source of inspiration seems more reasonable. Another possibility which
retains a more immediate relationship to the parallel forms, is obtained if
the nomen rectum has a qualifying function, describing the 'oracle' as
'sinful'53 Understood in this way, the MT could be rendered:
A sinful saying to the unrighteous is in the middle of my heart.
This, however, makes it difficult to understand v. 2a as an introduction
to a following citation, corresponding to the similar constructions of
Ps. 110.1 and Prov. 30.1. Moreover, the element 'in the middle of my
heart' could not refer to the I as mediator. As is witnessed by the usual
emendations into third-person forms, the 'middle of the heart' is naturally associated with pondering and mental activity. Given this, and if MT
is adhered to, v. 2a is a statement of the I, which refers to mental
50. Delekat, Asylie, p. 239, with 'sin' understood as a correction for an original
ba 'al as the source of inspiration.
51. As is the usual understanding, e.g. the precise rendering of Dahood, Psalms I,
p. 217: perversity inspires the wicked man.
52. Schmidt, Psalmen, p. 67; Ridderbos, Psalmen, p. 260; Croft, The Identity of
the Individual, p. 159.
53. Cf. corresponding constructions withddbdr in sg. and pi. Ps. 52.6; 35.20b;
119.43a; Prov. 13.5a; 29.12; Qoh. 12.10. Especially in the latter case, with 'words'
qualified by the categories of vv. 9 and 11, the usage with ne'um is relevant for
the construction of 2a introducing forms of wisdom (cf. also 2 Sam. 23.1-3a and
Prov. 30.1).
2. Psalms 84 and 36: The Paradigm
59
anguish and struggle, the 'sinful saying' rooted in his own heart.
This tentative rendering of v. 2a would explain the peculiar composition of Psalm 36, with its extended description of the evilness of the evil
in the introduction (vv. 2b-5) and the concluding statement on the fate
of the evil (v. 13) immediately connected with the preceding prayer. The
negative mode of the psalm—especially when compared with Psalm 84
as the positive exposition of the motif structure—would correspond to
the I in such a situation.
Such a psychological state could be compared to the anguish of the I
in Psalm 73. The unhappy I of Psalm 73 is obviously on the very brink
of succumbing to the negative ideal as described within the third-person
statements of vv. 4-12 concluded by 13-14, nearly uttering the
'deceitful' confession (v. 15).
The relationship of the heroes of Psalms 36 and 73 is the more interesting as the two texts also have formal characteristics in common. The
composition of Ps. 73.1-14 forms an interesting parallel to the composition of 36.2-5 followed by the hymnic vv. 6ff. The psalm is introduced by I-forms which describe the situation of the I as related to
representatives for the negative ideal (73.2-3, corresponding to 36.2a).
The retrospective I-forms of v. 15 and especially vv. 21-22 attest to the
importance of the subjective state of anguish and near apostasy described
in the introduction.
The introductory I-forms are followed by third-person descriptions of
the evil (73.4-12). Verses 6-11, describing the qualities of the evil, are
parallel to 36.2b-5. In both cases the description of the evil is immediately connected with forms of 'confession': in Psalm 36, by the hymnic
description of the fate of the temple-dwellers (vv. 6-10), in Psalm 73 by
the almost said 'confession' on the fate of the evil (v. 12) together with
the contrasting I-forms (vv. 13-14—cf. also the immediately following
'proper' statements on the fate of the evil, vv. 18-20, 27 connected with
confessing I-forms). Against this background,54 Psalms 36 and 73 must
reflect a common dependence on basic formal elements and also a certain formal structure. Moreover, Psalm 73 with its more complicated
application of the common material, attests to the importance of the I as
confessor in a situation of confrontation with the evil as the negative
paradigm.
Given this, the third-person qualifications of the evil in these texts
54. Cf. the more detailed discussion in Ps. 73 in connection with Ps. 62.
60
Between Sheol and Temple
must have a significance beyond that of qualifying the enemies of the I.
That function surely is important, as witnessed by Psalms 36 and 140
where the prayers are immediately given to the danger from the evil
enemies. For the application of the paradigm to the situation of the I, the
enemies identified as evil obviously are important. But the extended
form of the qualification in 36.2b-5 together with the possible understanding of v. 2a and the special form of the prayer (vv. 12-13), also
connects to the situation of 84.11, with the evil relevant as paradigmatic
figures for the I.
In this way, the qualifications of the evil also must have a confessionary function as renunciations of the negative paradigm. Pss. 84.11
together with 52 and 73 as entities would be expressions for different
aspects of such a function. In this respect Psalm 36 is interesting as a
combination of the two aspects. The enemies of the I are very much evil,
but, the evil paradigm is also relevant for the I.
A fundamental link between the two aspects could also be found in
the motif development. In Psalm 36, the threat of the enemies is immediately connected with the temple motifs, the I being forced to 'flee' to
the contrast locality of 'falling'. A corresponding contrast is alluded to in
Ps. 84.11, and is also relevant for Psalm 140 with the more immediate
contrast of the I being killed as opposed to dwelling in the temple
described as the positive fate. Within the composition of Psalms 36 and
140, enemy motifs and temple motifs are not separated from each other
as referring to separate levels of reality (cf. the traditional understanding
of the enemies connected with a 'real', historical crisis 'out in life', the
temple motifs with cultic events taking place after the 'real' problem has
been solved). The two types of motifs are related to each other as parts
of the same motif development, referring to the same level of reality.
With dwelling in the temple as the ultimate event of the religious pattern,
the enemies as evil represent the immediate danger to the I's attainment.
Thus, the special composition of Psalm 36 with the introduction of vv. 25 and the conclusion of vv. 12-13 suggests that the concrete expression
of the 'foot of pride' and 'hand of the unrighteous' would consist in the
I succumbing to the 'saying of sin' in his 'heart'!
3. Conclusions from Psalms 36, 84 and 140: The Paradigm
a. The Third-person Statements
For these texts, the relationship between third-person statements and Iforms is essential. The form of the third-person statements vary. But
2. Psalms 84 and 36: The Paradigm
61
basic to them is the connection of religious qualification—usually by
nominal terms—and statement on fate. Both aspects can be extended
into relatively independent forms. Thus, in Psalm 36, vv. 2b-5 are given
to a description of the character of the negative figure, but vv. (7b), 8-10
describe the fate of the positive figures. But basically, the sentence types
of Ps. 140.12-14 seem central for the different types of statement. This
type of construction can be related to a group of lsaddiq-sayings'—
especially as used in the Psalms. These sayings, as well as the general
concepts of the saddiq and the contrast term rasa', could be important
for our understanding of the traditional background of the third-person
statements.
The statements express given truths on the fate of the qualified beings.
Temple motifs, contrasted with motifs which could be abstracted as
motifs of 'death' or 'sheol', signify the two types of fate. Psalm 36 elaborates the stereotypical temple motifs of Psalm 140, adding to the
significance of the concept of dwelling in the temple by motifs of
'refuge' and 'meal' in addition to deepening the category of 'life'. In
addition, Psalm 84 extends the temple motifs with motifs of 'pilgrimage' /
'way' leading to the temple. The motif exposition connects this way
with crisis and miraculous intervention. The 'topographical' impression
of these motifs is added to by Psalm 36 with suggestions of the I also in
negative movement towards Sheol.
But it could be important that the localities are referred to by many
instances of motifs. Obviously the expression of the basic concepts is not
confined to some stereotypical terms. The allusions to the negative fate
are of markedly individual character, the transcription of them as motifs
of 'death' or 'sheol' representing an abstraction. Also, the expression for
'the evil as localized' could refer to different aspects. Thus, in Ps. 84.11
the 'tents of evil' which contrast temple as the place for dwelling, must
refer to an alternative for longing and aspiration, and thus as a place of
wrong orientation and temptation. But neither is the positive fate in
140.12 confined to temple categories, but it is described as 'firmly
standing in the land' (cf. also below to Isa. 38.10ff.). And when the
'good state' is described as dwelling in the temple, Pss. 140.14, 84.8 and
36.8b-10 provide a number of motifs, applied as comprehensive and
probably alluding terms.
But motifs of temple-sheol-way seem basic to the motif use. They
need not represent the prime or original expression for the basic con-
62
Between Sheol and Temple
cepts involved.55 But at the very least they are observable as suggestions
for what 'it is all about'. And their use in these texts defines them at least
as an important expression of the central concepts. They allude to some
basic topography, with the religious reality defined by relationship to
some decisive places.
This also suggests that the motifs as well as the statements reflect a
religious meta-language of ideological nature. This language can have a
cultic background and could also refer to actual ritual practice. But for
the statements—especially as seen isolated from their application in the
texts—human reality defined by contrasted types of humanity related to
contrasts of temple and sheol would point to an ideological type of
language.
b. The Relationship between Third-person Statements and I-forms
The formal separation between the third-person statements of religious
truth and the I-forms of these texts must be important for the understanding of the I-psalms. The separation obviously implies that the I
cannot be identified with the figures of the positive statements.
However, the statements just as obviously express a situation highly relevant for the I. The relationship seems to represent an expression of
paradigm and actualization. The situation of the I seems to represent a
concrete application of the paradigmatic situation of the third-person
statements. The form of beatitude in Psalm 84 is an expression of such a
relationship between statements and I-forms. The other types of statement refer to ideal figures which represent the religious laws, while the I
is described as an actualization of (aspects of) the ideal figures.
To a certain degree, this application is expressed by parallelism
between the I-forms and the third-person forms. Especially in Psalm 140,
the contrast of statements on the negative and positive fate corresponds
to the implications of the conflict between the I and his enemies. The
qualification of the enemies as somehow 'evil', thus identified with the
negative paradigm, most directly connects the paradigmatic and the individual situation.
This type of parallelism does not mean that we find motifs and concepts which refer to two separate types of situation. On the contrary, the
55. Cf. e.g. the parallel 'short-forms' 84.13b and 36.7b with 'trust' and
'salvation' as comprehensive expressions for the paradigmatic quality and fate.
2. Psalms 84 and 36: The Paradigm
63
central motifs of the two situations correspond.56 The I stands forth as
the potential actualization of the blessed fate.
Divine intervention is presented as the decisive factor for this actualization. In Psalms 36 and 140, while 84 is more uncertain in this respect,
the prayer is central for the fate of the I. Divine intervention must represent the direct expression of the I identified with the religious ideal as for
example saddiq. Thus, these texts represent partial actualizations of the
paradigm as linked with some decisive crisis. But also as partial, this
application is related to the central motifs of the paradigm. Compared to,
for example, Psalms 73 and 52, the I of the three psalms seems to represent the initial stages of the story, a being on the outside of the temple—
while dwelling inside represents the sacred goal.
This connection could be related to the I not only as supplicant, but
also as confessor within these texts. The blessed fate—in parallel to statements on the negative fate—is confessed, with the prayer as an important
expression of the confession. The importance of this act of confession is
stressed by the I as related not only to the positive paradigm, but also to
the negative. As enemies/negative paradigms, the evil represent the concrete threat to the Fs orientation. Against this background, the I is very
much a being in between—renouncing the negative ideal, professing the
positive. Both in Psalms 36 and 140—by inference probably also in
84—the I is in a most desperate situation, doomed to defeat unless saved
by divine intervention. In this respect, the application in Psalm 36—
stressed in Psalm 73—is important in relating the possibility of doom not
only to the threat of the evil enemies, but also to the relevance of the
negative ideal.
In this way, the relationship between third-person statements and Iforms in these texts suggests a background of religious practice. While
the third-person statements are ideological in character, the psalms seem
to express a practice of actualization and identification. The paradigm is
embodied by the fate of the I. As prayed for, the decisive form of
embodiment is dependent on divine intervention. But it is also partly
actualized in the I attacked by the evil enemies or by the I threatened by
the fate of the evil. Thus, the paradigm seems to imply some sort of role
embodied by the I. Also as confessed, the paradigm obviously is relevant
also for the presence of the I. Thus, the categories of actualization and
56. The exception might be the puzzling royal theme of the prayer 84.10, cf.
above.
64
Between Sheol and Temple
identification also seem to include aspects of concrete 'religious
behaviour' and practice.
Aspects of this practice are illustrated by Psalms 84 and 36 especially.
In Psalm 84, the central concepts of the paradigm are expressed in Iform, in an intensely personal and emotional way. As orientated towards
the temple, the I represents a person totally defined within the categories
of the paradigm. Connected to forms of beatitude, the I-forms clearly
present a (potentially) blessed man. The blessedness is here connected to
internalized attitudes of religious feeling. The hymn of Psalm 36 can be
related to this exuberance of actualization. But in addition this psalm
could represent other aspects of internalization, with a hero split between
two contrasted modes of religious being, in danger of succumbing to the
negative ideal. The personal aspects of actualization as connected to a situation of anguish are also illustrated by Psalm 140, here connected to an
external situation of having enemies. On the other hand, Psalm 36 can
represent an immediate connection between the enemy situation and the
anguish of internal actualization. In this way, the seemingly bland and
objective character of the third-person statements presented in a literary
context of I-forms must reflect a biographical background of intense
mental and emotional distress in addition to the probably physical
aspects of the crisis.
This could also be reflected by the relationship of the three psalms.
Their immediate literary relationship must express a background of traditional, even stereotypical expositions of the main concepts. At the
same time, they are highly individual expressions for the given concepts
and motifs. The exposition—both with regard to the composition as a
whole and to the detailed motif use—is characterized by literary freedom
of application. Also as we have seen, they represent different aspects of
the I as a being on the outside. The formal differences could, at least
partly, be related to a background of religious practice and experience,
with the texts reflecting different modes in the application of the
religious ideal to the personal fate. Psalm 36 related to 73 could even
suggest that the differences of some texts could reflect different stages
of religious development.
Such a background would have repercussions for our understanding
of the use of I-forms. The T seems to be rooted in autobiography,
reflecting the religious experiences of a group of individuals or more
probably an individual. The I-form could immediately reflect an interest
2. Psalms 84 and 36: The Paradigm
65
in religious autobiography as a vehicle for transmitting a certain type of
religious experience.
But the use of the I-form could also be related to other functions. The
texts as transmitted—probably also as created—point not only to the
very fact of original experience, but also to a milieu where the texts
were appreciated and used. Whatever the original form of this use, later
users have somehow participated in the story of the original experience.
That this experience has been presented in I-form and re-experienced
as the story of T could mean that the participants were invited to
identify with the experience. Such a process would be natural in a milieu
characterized by a practice connected to categories of paradigm and
actualization. This would imply that the I of the single text, presented as
a concrete embodiment of the religious ideal, would have functioned as a
paradigmatic figure. Parallel to the I related to the paradigm of the thirdperson statements, the participants are somehow reliving the experience
and have related the experiences of the I to their own reality. This would
also imply that the texts as transmitted—possibly also as created—represented a means of teaching and admonishment.
c. The Application of the Paradigm in Psalm 118 related to
2 Kings 20 and Isaiah 38
An illustration of the relationship between third-person statements and Iforms is found in Ps. 118.19-21:57
Open for me the Gates of Righteousness!
that I may enter through them,
that I may praise Yah.
This is the gate of Yahweh.
The Righteous may enter through it.
I will praise you, for you answered me.
You became my salvation.
Verse 20 represents a description of the gates mentioned in v. 19, qualifying them as lle Yahweh' and reserved for the group of the Saddiqim.
A similar structure of sentences and motifs as appears in these two
verses can be found in Ezek. 44.1-3. Here we also find a precise specification of the gate in question, with the presentation of the gate (v. 1)
followed by the repetitive 'this gate', in v. 2. This corresponds to the
introductory 'Gates of Righteousness' followed by 'this gate', 118.1920. In the regulations of Ezek. 44.2 we note two parallel sentences using
57. Hauge, The City facing Death', pp. 7ff.
66
Between Sheol and Temple
the verbs patah and bo be. This corresponds to the verb structure of
Ps. 118.19ab.58 The regulations in Ezek. 44.2a ocb are in aB motivated
by the special act of Yahweh's bo be the gates. This corresponds to the
qualification of the gates in 118.20a.
Following the motivation which relates the gates to Yahweh, special
sentences (Ezek. 44.3 and Ps. 118.20b) describe those who may use the
special gate. In both cases this is done by introductory nomina which are
of a character to qualify the special status of those permitted to enter.
And finally, the entrance motifs are extended by forms which describe
the significance of entry. The prince may enter 'to eat bread before
Yahweh', corresponding to the 'I will praise' of 118.19b, 21a.
In this way, the two texts reflect a common structure of sentences
given to presentation of the gates in question, a qualification of the gates
as very special due to some relationship with Yahweh, and finally regulations on the proper use of the gates in connection with rights of entry.
This structure of sentences and motifs must point to a common origin,
probably in sacred regulations of admittance. Given this background, the
specially qualified gates and qualified entrants stress the significance of
the very act of entry.
The connection with Ezek. 44.1-3 shows that the function of the
description of the gates in Ps. 118.20 is to confine the special entry to
the sanctuary to some special type of enterer. Whoever is 'righteous'
may enter. The plea for admission of v. 19—with the verbs patah and
bo be in first-person forms—means that the I presents himself as potentially representing this ideal. Moreover, the hymnic introduction of
v. 15a also refers to the Saddiqim as a group, localized to their 'tents',
corresponding to the 'tents of evil' of Ps. 84.11. If the I is permitted to
enter, he is accepted as a saddiq, representing the ideal, included in the
group of saddiqim.59
Compared to the other texts, the relationship of v. 19 to v. 20 indicates a much more immediate relationship of third-person statements
and I-forms. But in this case, some distance is kept by the parallelism of
the two sets of forms. The paradigm is applied to an individual situation.60
58. Cf. also these verbs in the closely related Isa. 26.2 and also Ezek. 46. Ib
and2a.
59. Cf. the similar scene of Ps. 142.8 with the I liberated from 'constriction' and
afterwards surrounded by the Saddiqim, and also a corresponding concept in Ps. 1.5
of 'standing in the congregation of the Saddiqim'.
60. Ps. 24.6 might reflect a parallel application of the paradigmatic third-person
2. Psalms 84 and 36: The Paradigm
67
Moreover, saddiq-hood is solidly connected with temple motifs, here
in the form of temple entry. This corresponds to the other texts,
reserving dwelling in the temple for a special group. Also, the act of
entering the temple is connected to a situation of crisis. In Psalm 118,
the crisis is described as a crisis of the past, expressed by the narrative
forms of vv, 5, 13 and 18,61 in addition to the more general v. 14b and
inv. 21:
From constriction I called on Yah
Yah answered me with open space.
You pushed me hard that I should fall.
But Yahweh helped me.
Yah chastened me hard.
But into death he did not hand me.
The stereotypical sentence structure of these narrative forms points to
their parallel function in the composition: an introductory statement on
the crisis, contrasted with a corresponding description of Yahweh's help.
In addition, the three descriptions can be related. The crisis described by
the I in supplication, as tormented by the hostile you, and as chastened
by Yahweh, would reflect the basic aspects of the situation. On the other
hand, the relatively independent character of the three descriptions,62
depicting three different types of scene, also illustrates the literary freedom for individual expression.
In this way, this psalm reflects the basic motif structure common t
Psalms 36, 84 and 140, with the I in a situation of crisis and suffering,
forms (vv. 3-5) on a concrete group. The transition from Yahweh mentioned in the
third person to being addressed in the second person, following the third-person
statements (vv. 3ff.), corresponds to the similar transition in 118.19-21. In connection
with Pss. 15 and 24 understood as gate liturgies, von Rad argues for special rites of
priestly examination conducted in the temple gates, ending in a verdict expressed by
the 'deklaratorische Formel' of saddiq hu hdyo yihyce, 'Die Anrechnung des
Glaubens', p. 133 and '"Gerechtigkeit" und "Leben"', p. 227, followed by
W. Zimmerli, Ezekiel 1. A Commentary on the Book of the Prophet Ezekiel, Ch. 1-24
(Hermeneia; Philadelphia: Fortress Press, 1979), pp. 375ff., '"Leben" und "Tod"',
pp. 494ff.
61. Verses 17-18 together with 5 and 13 as narration according to Criisemann,
Hymnus undDanklied, p. 219, cf. Hauge, 'The City facing Death', p. 10.
62. Illustrated by H. Schmidt, Psalmen, p. 212, who finds the narrative forms to
express the personal fates of three different figures, and also by the usual difficulties
of the commentators to pinpoint the concrete figure of the I in this psalm.
68
Between Sheol and Temple
praying for the divine intervention, with dwelling in the temple reserved
for the ideal figures as the ultimate goal. The connection between the
texts must reflect that they are individual expressions for one basic type
of application of super-individual character. In this respect Psalm 118
related to the other texts is of special importance in connecting the motif
structure to the categories of successive events. The different texts are
centred round different events of a story. Psalms 36, 84, and 140 are
given to the situation of suffering and prayer. To the I of Psalm 118 (cf.
also above to Psalm 73), the crisis belongs to the past, while the literary
'now' is given to the ultimate events of the I-story, namely the triumphant
entry into the temple, which also means the I qualified as a saddiq,
identified with the group of blessed temple dwellers.
Thus, to these texts seen together, a situation of crisis and suffering
and supplication seems to represent the initial events of a story ending in
the temple. Also in Psalm 118, the character of the crisis is connected
with motifs of death (cf. the contrast of praise and death—v. 17 in addition to v. 18—and the motifs of 'pushing' and 'falling' v. 13). Basically,
the story seems to reflect two main types of situation, one characterized
by crisis and ultimate death outside the temple, and a contrast situation
inside the temple. Also in Psalm 118, the narrative in you-form (v. 13)
together with the motifs in the forms of confidence (vv. 10-12) indicate
that the enemy motifs are significant for the crisis on the outside. On the
other hand, vv. 5 and 18 as parallel narrative expressions for the crisis
use other motif types as valid descriptions of the same situation.
For the understanding of the religious significance of the motif structure, it could also be important that the praise of the divine hcesced
frames the I-story of Psalm 118 (vv. 1-4, 29). This corresponds to the
use of this motif in Psalm 36, and could further be related to the
significance of the I as supplicant in the versions of the I-story in Psalms
36, 84 and 140.
For this psalm, the traditional cultic understanding could seem rather
obvious. The character of the temple motifs of vv. 19-21—stressed by
Ezek. 44.1-4—could even suggest an immediate connection between literary expression and ritual practice. Even if Jer. 7.2ff. presupposes a
rather loose and ideologically undramatic bo be (v. 2) the temple gates
as normal (cf. in Chapter 5), it is natural somehow to relate the language
of 118.19-21 to concrete ritual experience. This could also have consequences for the other expressions for the I-story.
On the other hand, Psalm 118 also entails the Babylonian poem 'I will
2. Psalms 84 and 36: The Paradigm
69
praise the Lord of Wisdom'63 as relevant. This is often referred to in
connection with Psalm 118,64 reflecting a comparable structure of
events. Told in I-form, the poem describes a series of events of a man
dying and being brought to life by divine intervention. The story is concluded by the triumphant entry through the temple gates, the significance of which is stressed by each gate being given a name and
described by its effect on the I. The connection between the two poems
could hardly be coincidental.
Also the structure of the Babylonian text could naturally be related to
a background of ritual practice. But for Psalm 118 as well as for the
other I-psalms with a common motif structure, the existence of the
Babylonian text at the very least introduces some ancient literary tradition as influential.
The story of Hezekiah's healing in 2 Kings 20 and Isaiah 3865 could
have some relevance for this problem. The complicated traditio- and
redactio-historical problems represented by the two texts individually
and especially as related,66 warn against making them the basis for any
sure conclusions. But they are interesting in this connection as stories
centred round a particular 'life crisis' connected with ritual language. If
we stress the significance of their final form, they can at the very least
illustrate possible types of application for the I-story.
In both versions we find a motif 'ascent to the temple' (2 Kgs 20.5, 8;
Isa. 38.22) connected with a story of an individual's sickness and
healing. As the events are unfolded, the ascension is presented as the
final and a most important event. The exposition of the events in the
two versions is peculiar.
In 2 Kgs 20.5 the king is promised healing, connected with ascension
to the temple on the third day. To this is added a promise of his lifetime
being extended by 15 years and, moreover, of help against the Assyrians.
After the promise, a concrete act of healing is described (v. 7). After this,
the king refers to the divine promise and asks for a corroborative miracle. It is to be noted that the promise of 15 years of life and victory
63. J.B. Pritchard (ed.), Ancient Near Eastern Texts Relating to the Old
Testament (Princeton: Princeton University Press, 1969), pp. 596-601.
64. E.g. Kraus, Psalmen, p. 983.
65. Hauge, 'The City facing Death', pp. 23-29.
66. E.g. H. Wildberger, Jesaja. III. Jesaja 28-39 (BKAT 10.3; NeukirchenVluyn: Neukirchener Verlag, 1982), pp. 1439-68; to Isa. 38.10ff. Crusemann,
Hymnus und Danklied, pp. 239ff.
70
Between Sheol and Temple
over the foes is ignored by the king who concentrates on the healing
and the ascension.67
Now this order of events, as witnessed by modern commentators, is
rather illogical; quite apart from the astonishing fact that the healing itself
should be overshadowed by a rather unnecessary corroborative sign.
The story ends with a detailed description of the corroborative sign,
while nothing is told of the solution to what modern readers would perceive as the real problem of the story, namely the healing. However
illogical, the present composition in this way stresses the significance of
healing as connected with ascent to the temple. The actual medical
treatment of vv. 7-8 could have marked a happy ending to the story.68
But the present composition defines the healing as connected with
ascent to the temple as the real matter of the story.
This seeming illogicality and the resulting weight on the ascension
motif is even more concretely demonstrated by the Isaiah-version. Here,
only the promises of 15 years of life and salvation from the Assyrians
are given (vv. 5-6). In the Kings version the number of promises is
reduced by the king to healing and ascension. The Isaiah version is even
more singleminded in defining what is important in this story, as the
promises in v. 22 are boiled down to the question of ascending to the
temple.
Also in Isaiah 38 the request for a sign is located after the description
of the medical treatment (v. 21), which by itself could be expected to
form a natural ending of the story. But in this version, the king has already
been given a corroborative sign by the prophet (vv. 7-8). Concluded by
the psalm of thanksgiving, the story could also have been ended very
satisfactorily in v. 20, as v. 9 presupposes the healing to have taken
place. Most logically, the original story could be seen as comprising
vv. 1, 2-3, 4-5 (+6), 7-8 and 21.69 Instead, the story is concluded—
formally completely unmotivated by the present composition—by the
67. To Snaith, Kings, p. 306, the political promise is secondary, added by the
Deuteronomic compiler; while to Wildberger, Jesaja, p. 1446 the promise of healing
and ascension is secondary, adding to the miraculous character of the story.
68. Cf. Wildberger, Jesaja, p. 1446, on the function of the parallel Isa. 38.21.
69. Proposed by Wildberger, Jesaja, p. 1447, with the 'hochst deplazierte Frage'
of v. 22 as due to some ancient reader's reaction on the absence of the ascension
motif in the Isaiah-version as compared with the Kings-version, noted down somewhere in the margin of the manuscript and later inserted into the text and in a very
unsuitable location.
2. Psalms 84 and 36: The Paradigm
71
king's question regarding his ascension.
But this peculiar composition corresponds to the tendency of 2 Kings
in stressing the ascension to the temple as the decisive event of the story.
That this interest is differently expressed in the two versions of the same
traditions—with Isaiah 38 even supposed to be literarily dependant on
the Kings version—adds to the material significance of the illogicalities.
The common tendency and its different expressions make it more natural
to assume a common interest in the ascension motif as expression for
the really significant event than two independent expressions of aimless
editorial clumsiness.
Such a compositional interest would correspond to the applications of
the temple motifs in Psalms 84 and 36 especially. The I as totally related
to the temple, described as full of longing or 'wholeheartedly' walking,
and, in this state, embodying the religious paradigm, corresponds to the
two versions of the story. The king must embody the ideal of piety. The
description of the king's request in 2 Kgs 20.8 after the promises (vv. 56) and the prophet's ministrations (v. 7) and especially in Isa. 38.22 after
the promises of vv. 5-6 and the corroborative sign in v. 8, could be seen
as expressions of the king's embodiment of a religious ideal.
In connection with this, it is interesting that the versions are centred
round the situation of crisis as a situation of relatively independent character, related to a series of other events. Within the literary presence of
the two versions, the ascension motifs refer to events of the future. Also,
the relatively independent character of these 'situations' is connected to
categories of locality. The events of crisis are connected to the king 'at
home', with sickness, prayer, and visits by the prophet ending with the
miraculous healing, taking place outside the temple.70 The ascension
motif alludes to other types of events, localized to the temple.
So, at the very least there is a difference between—if not non-ritual
and ritual, then—'non-temple' and 'temple' events. It is of course possible that the ascension to the temple refers to rites of thanksgiving with
the function normally envisaged as centred round the solution of the 'life
70. Stressed by Gerstenberger, Der bittende Mensch, pp. 135ff. on the significance of 'rituals of prayer' taking place outside the sacred compound, as
'vom offiziellen Kultus getrennte Heilungs- und Scutzzeremonien fur einen
Einzelmenschen'. For example Pss. 27, 42/43 and 84 are seen as expressions for
'Bittzeremonien im ausserkultischen Bereich'.
72
Between Sheol and Temple
crisis'.71 Even so, it is interesting that instances of the life problem of
sickness, described in the two texts, are presented within a second set of
categories, the problem of sickness transcribed as the problem of ascension to the temple. As linked, the life situation and the temple situation
obviously refer to each other, the latter presupposing the first. But as to
significance, they differ; the latter representing the implications of the life
situation as related to categories of temple.
The complexity of description is added to by the psalm of thanksgiving in Isa. 38.10-20. The psalm may very well be related to the
assumed rites of thanksgiving as the authors' representation of the text
cited during these rites.72 But it is very loosely related to the context (cf.
above), especially as introduced v. 9 by a normal psalm superscription
which presents the king as psalm composer.
In the psalm the king—in v. 9, presented as the I of the psalm—is
related to the temple. But here the temple relationship is described as
staying in the temple, this situation further qualified as 'playing all the
days of our life' (v. 20). Similar categories of locality are referred to
v. 11 with the I related to the land of life, connected with the motif
'Look upon Yahweh'. This connection of dwelling in the temple and
life (cf. above to 140.12, 14) is also applied v. 19 to 'the living, the
living' as praising Yahweh.
The locality of the temple/land of life and the state of the I as living/
praising is contrasted by a relationship to death, mostly described by
categories of locality.73 The I is walking through the gates of Sheol
(v. lOb), is 'together with those dwelling in the Underworld' (lib), 74
related to 'those descending to the pit' (18b), and finally brought
('lovebound' by Yahweh!) 'from the grave of destruction' (17b).
Within these verses 'temple' and 'dwelling in the temple' clearly do
not refer to some isolated ritual event, nor to some locality having the
sick-bed for contrast. With a lasting stay of praise, connected with the
state of life, and contrasted with stay and non-praise in Sheol, the motifs
refer to rather abstract categories of reality visualized as localities of life/
relationship with Yahweh and death/non-relationship with Yahweh.
Obviously presented as a description connected with the concrete life
71. Cf. the preceding note and further Criisemann, Hymnus and Danklied,
pp. 270ff.
72. Criisemann, Hymnus und Danklied, pp. 241, 270ff.
73. Tromp, Conceptions of Death, pp. 129ff.
74. Tromp, Conceptions of Death, p. 84.
2. Psalms 84 and 36: The Paradigm
73
crisis of mortal sickness and healing, the language of the psalm expresses
an ideological interpretation of the life events, the biography of the king
transcribed by the categories of the I-biography.
In this way, these texts could basically refer to three levels of reality,
all of them of 'religious' character:
1.
2.
3.
The actual life situation of the king, centred round sickness and
healing connected with extended life-time.
Some ritual situation of thanksgiving in the temple. Due to the
special literary character of the two texts, this situation can only
hypothetically be identified with the ascension motifs, which as
well could refer to ideological categories.
Temple and dwelling in the temple as central expressions for
some—at least in this context—rather abstract categories of
interpretative, ideological character.
Basically, the character of the two compositions seems to reflect that the
different levels are linked to one language system. This is suggested by
the transition from one aspect to the other within the story and especially clearly by the insertion of the thanksgiving poem of Isaiah 38 as
given to the ideological description of 'what really happened'. More
concretely, the basic concepts of God and temple must be common to
the three levels.
1.
2.
3.
Yahweh is the miraculous healer and giver of extended lifetime, while ascension to the temple represents the final event of
the life crisis.
The proper rites would be related to Yahweh in the temple by
the cult participant.
Yahweh is the presence in the temple to be seen and praised by
the living temple dweller, with non-praise in Sheol for contrast.
This type of language with a linkage of the levels is basic to the two
stories. However, their peculiar composition also demonstrates that one
level can be stressed as the more relevant for a particular interest.
These possibilities are interesting with regard to the understanding of
Psalm 118 in connection with Psalms 36, 84 and 140. The language of
these texts corresponds to that of the thanksgiving poem Isa. 38.1 Off. In
this way they directly express the ideological level and the ideological
interest of the language system. On the other hand, the linkage of the
levels in the Hezekiah-story suggests that the psalms—at least at the
74
Between Sheol and Temple
time of composition of 2 Kings 20 and Isaiah 38—are applicable also as
expressions of a normal life crisis, linked to the problems and solutions
of the life crisis, as well as to cultic situations.
The possibility of different applications could be expressed by
Ps. 118.19ff. The ideological level must reflect the prime interest of the
composition. Against this background, these verses, and the psalm as a
whole, can be related to some literary-religious tradition of the I-story;
and can be linked with other Old Testament expressions in this literary
tradition as well as the Babylonian 'I will praise the Lord of Wisdom'.
On the other hand, the linkage to the traditions of Ezek. 44.Iff. and
ritual practice is also relevant. Finally, the Hezekiah-story also suggests
that the 'users' of Psalm 118—whatever they used it for—also could
identify with this 'I-story', even from a background of some ideologically rather commonplace life crisis.
With God and temple as equally relevant categories for any level of
application, the language of these texts must allude to immensely rich
possibilities of understanding and application. Even with the ideological
level predominant, the language would constantly call forth criss-crossing
connotations of life crises, ritual practices, and literary applications,
together making the I of the text a vehicle for religious interpretation of
the most diverse materials of human experience. And finally, in spite of
the uncertainties in making any inferences from the two versions of the
king's sickness, they firmly demonstrate the linkage of the I-story with
biographical experience.
Chapter 3
PSALMS 42-^3: THE SACRED JOURNEY
1. The Psalm as a Whole
The different types of motif have led to the traditional solutions as to the
crisis of the I in this psalm.1 Usually they are connected to the basic
three types of suffering, with the I as sick, as a king confronting national
enemies, or as accused in a judicial process.2 But in this psalm, the geographical references of v. 7 have necessitated special adaptations. When
not emended,3 these references could mean that physical separation
from the homeland is added to the main problem of sickness,4 or of warfare.5 Connected to such models, the temple motifs of 42. Iff. are taken
to refer to the subjective emotional reactions of the I, while the temple
motifs of 43.3-4 would refer to the concluding rites of thanksgiving after
the 'real' problem has been solved.
Solutions of this kind present a rather weak reflection of the function
of the temple motifs in this psalm. Other suggestions do more justice to
the significance of these motifs in the composition. The crisis could
1. To Beyerlin, Die Rettung, p. 11, the relationship of enemy motifs and the other
motifs of suffering in this psalm is too uncertain to give priority to one special motif
type, cf. also P.C. Craigie, Psalms 1-50 (Word Biblical Commentary 19; Waco:
Word Books, 1983), p. 325 naming some kind of exile or sickness as the possible
causes which could limit the poet's possibility of going to Jerusalem.
2. To the latter cf. Ruppert, Der leidende Gerechte, pp. 182-83, in addition to the
references below.
3. By Schmidt, Psalmen, p. 79; cf. also Taylor, Psalms, p. 220; and Dahood,
Psalms I, p. 258. To Dahood, v. 7 refers to the land of Sheol in connection with the
'Foe' (v. 10, 43.2) and the 'Assassin' (v. 10) on death residing in the body of the
sick person; cf. also Tromp, Primitive Conceptions, pp. 91 and 145-46.
4. Gunkel, Psalmen, p. 178; Kraus, Psalmen, p. 321.
5. Birkeland, Die Feinde, pp. 169-70; Mowinckel, Salmeboken, p. 100.
76
Between Sheol and Temple
consist in banishment or exile, with the emotional significance of the
separation from the temple due to the role of the I as a cultic servant.6
Or the physical separation could reflect exclusion from the official
temple cult due to the uncleanliness of sickness.7 Or the motifs could
refer to the asylum-function of the temple.8 Or the temple motifs could
be related to a ritual situation of festival procession.9
But for Psalms 42-43, in part due to the influence of Alonso Schokel's
studies,10 new solutions have been proposed, with the main motifs
6. Weiser, Psalmen, p. 234; Ridderbos, 'Response', JSOT 1 (1976), p. 17;
Eichhorn, Gott als Pels, pp. 93-94; Croft, The Identity of the Individual, p. 174; cf.
also below to Alonso Schokel.
7. To Gerstenberger, Der bittende Mensch, p. 152, this psalm together with 27
and 84 exemplify 'Bittzeremonien im ausserkultischen Bereich'.
8. Delekat, Asylie, pp. 148ff.: the I is in a sanctuary situated on the sources of
Jordan, and is now searching an oracle for 'Schutzbrief to be accepted into the
home-sanctuary.
9. To Eaton, Kingship and the Psalms, pp. 130-31, the royal psalm is evoked by
a crisis of warfare, but reflects ritual stereotypes of the Autumn Festival with the king
'installed as mediator of Yahweh's kingship and established by sacramental scenes of
promise, suffering and exaltation'. The concrete local setting is some station off the
temple hill 'such as the Gihon spring and caves in the Kidron Valley'. First when the
divine favour is manifested, the worshippers can ascend the processional way to the
temple (p. 70). To Goulder, Sons ofKorah, p. 17, Ps. 42 is a song of the pilgrims on
arriving at the sanctuary of Dan, Ps. 43 somewhat separate as used before dawn the
following morning. As in Ps. 84, the motifs of longing and thirst refer to a most
concrete situation, namely the pilgrims' panting after water and rest after days of
strenuous walking and climbing on the way to Dan. The waters of v. 8 refer to the
pilgrims' hope of abundantly slaking their thirst (pp. 28ff.).
10. Cf. especially 'The Poetic Structure', JSOT 1 (1976), pp. 4-11; and 'Response
to Ridderbos and Kessler', JSOT 3 (1977), pp. 61-65; the former discussed by
M. Kessler, 'Response', JSOT 1 (1976), pp. 12-15; and Ridderbos, 'Response',
JSOT I (1916), pp. 16-21. For the valid analysis of the text, Alonso Schokel stresses
the necessity of confinement to the literary T of the poem. On the other hand, 'at a
secondary stage it may become possible to make the jump from the poem to the
author'. Thus, the literary I will have a relation, 'probably close relations', to the cult,
he is finding himself exiled in a heathen country, he is 'probably' suffering persecution for his devotion to God etc. ('Response to Ridderbos and Kessler', JSOT 3
[1977], p. 63; cf. also a similar 'hypothetical reconstruction ' The Poetic Structure',
JSOT 1 [1976], pp. 4-5). It is to be noted that 'jumps' of this kind—however
hypothetical—severely limit the possibilities of understanding the imagery. Thus, a
3. Psalms 42-43: The Sacred Journey
77
detached from an immediate relationship to ritual and the traditional
biographical-social categories. As connected with life-death categories,
the central motifs could mean that 'the psalmist needs to obtain access
to the temple, his source of life'.11 Or the spatial language could have a
metaphorical or symbolic function.12 Even the temple motifs could be
used with a symbolic function.13
Against the background of such a new orientation for the understanding of the function of the basic motifs, this psalm is of special
importance. Its formal character is traditionally linked to the repeated
refrain of vv. 6, 12 and 43.5 which separates vv. 2-5, 7-11 and43.1-4 as
relatively independent subunits. This impression is supported by similar
repetitions which link two and two parts. Verses 2ff. and 7ff. are linked
by the taunting question 'Where is your God?' (vv. 4b and 1 Ib);
verses 7ff. and 43.Iff. by the parallel questions of v. 10 and 43.2,
addressed by the I to God, who is related to the I by nominal qualifications as 'my rock' and 'my fortress': 'Why have you forgotten/ rejected
biographical frame seems to be presupposed as the sole basis for the imagery. This
would leave us with the traditional socio-biographical categories in addition to the
subjective 'inner' experiences of the poet as the given categories for the analysis of
the connotations of the motifs, with textual data as the means for arriving at the
experiences of the poet.
11. Broyles, Conflict and Faith, pp. 201-202; this situation described as 'primarily
religious' with God as the 'primary source of distress' and the enemies as a
'secondary source of distress'. This corresponds to Broyles's understanding of the
enemy motifs for the whole group of the laments of the individual. For this group of
texts, the enemies are 'not the explicit cause of distress (except perhaps for Pss. 22
and 35). They simply harass and mock the psalmist' (p. 218). Due to the uncertainties of 42.1 la, this understanding may be valid for 42 seen in isolation. But the prayer
of 43.1 suggests that the enemy motifs reflect a situation of real conflict.
12. As 'symbolic' for the psalmist's feeling of separation from God, according to
J.W. Rogerson and J.W. McKay, Psalms 1-50 (The Cambridge Bible Commentary;
Cambridge: Cambridge University Press, 1977), p. 201; cf. also G. Wanke, Die
Zionstheologie der Korachiten (BZAW 97; Berlin: Topelmann, 1966), p. 9. To the
latter, 'die Verbindung Jahwe-Jerusalem', with Jerusalem's 'Ausschliesslichkeitsanspruch' for the divine presence, is a special characteristic of 'die Theologie der
Korachiten' (p. 33).
13. According to E.S. Gerstenberger, Psalms Part I with an Introduction to
Cultic Poetry (FOTL 14; Grand Rapids: Eerdmans, 1988), p. 182, this psalm together
with 84 and 102.13-23 reflect 'early Jewish community, where the Jerusalem temple
had become a central symbol even for the personal faith'.
78
Between Sheol and Temple
me? Why do I walk/walk around mourning from the oppression of my
enemy?'.
Moreover, the first and the last part are linked by temple motifs, with
an especially close relationship between v. 3 second line MT and 43.3b,
4.14 The first and the second part also are linked by introductory
descriptions of the soul as suffering, vv. 2-3, in addition to the contrasted
water motifs, vv. 2-3 and 8. Also, the I 'remembering' linked to the
soul's plight, v. 5 first line MT, is repeated in v. 7. Given this background,
the day and night references of vv. 4 and 9 must be linked.15 Finally, the
descriptions of v. 5 and v. 8 somehow relate the festival procession and
the terrible waters.
In addition to these obvious phenomena, the psalm is characterized by
a subtle development of water and mountain motifs. Water motifs are
important for the first part in vv. 2ff.;16 water and mountain motifs are
peculiarly combined for the second part vv. 7ff., while the temple in
43.3b is qualified as a mountain.
Held together, these characteristics suggest a meticulous composition.
The motif development clearly relates this psalm to the texts analysed
above. It is dominated by forms which describe the I as related to the
temple (vv. 2-5 and 43.3-4, in addition to vv. 7-8 as a negative temple
motif). According to the dominant motifs, the crisis of the I clearly
consists in separation from and 'coming to' (v. 3a, 43.3b, 4) the temple.
On the other hand, the character of the crisis is as clearly linked to the
enemies as constituting a similarly central problem. This is demonstrated
by the laments and especially the parallel prayers in 43.1-2, 3-4. This
linkage of temple and enemy motifs corresponds to Psalms 140 and 36,
while the character of the crisis is more uncertain in Psalm 84. If one
wishes to avoid the rather subjective choice of which motif set should be
regarded as less metaphorical than the other—as witnessed by the
different models of understanding, with probably only Delekat's model
fully embracing both—this psalm with the parallel prayers 43. Iff. should
be significant for the understanding of the given motif structure. If the
14. Kessler, 'Response', p. 14.
15. Kessler 'Response', p. 14.
16. According to Alonso Schokel, The Poetic Structure', JSOT 1 (1976), p. 4,
the psalm as a whole is dominated by the two images of water as life and water as
death in the two first parts.
3. Psalms 42^43: The Sacred Journey
79
temple motifs should represent, for example, metaphorical or symbolical
language, the enemy motifs must form a part of such a language system.
It must be important that the given motifs are here presented in firstperson forms, in contrast to those Psalms analysed above. The relationship between third-person statements and the I-forms in the other psalms
suggests a relationship between paradigm and actualization. Such a relationship is expressed by types of parallelism between third-person statements and I-forms, which suggests the I as identifying himself and his
situation with the paradigmatic figures, with the divine intervention as
the ultimate act of identification. Psalms 42-43 reflect a much more
immediate relationship between paradigm and actualization. Here, the
basic motifs are presented in first-person forms. Within this composition
the I is an immediate expression of certain aspects of the paradigmatic
fate.
The introductory subjective expressions of the I as longing, comparable to 84.2-4, and the linkage of the crisis with admittance to the temple
in the prayer 43.3-4, corresponding to the introduction of the psalm,
stress the I of this psalm as representative of the ideal figure in crisis.
This can also be related to the special refrain vv. 6, 12 and 43.5:
Why are you cast down, my soul?
you did sound within me.
Wait for God!
for yet I shall praise him for saving acts from his face
According to MT, the versions of v. 12 and 43.5 are slightly different.
The motif of the divine face is stressed: 'from my Face, from my God'.
In addition, the motif of the soul's 'sounding' is formed as a parallel
question: 'Why do you sound within me?'
The refrain certainly should not be read as a monotonous repetition,
but must as to meaning reflect the dynamic development of each of the
preceding three parts.17 But, on the other hand, it remains a fact that the
structural dynamic is not expressed by differing conclusions, but by the
refrain again and again referring to one basic situation of the I talking to
his soul.
The relationship between the address to the soul and the rest of the
psalm is peculiar. While the two first parts (vv. 2-5 and 7-11) have the
17. Alonso Schokel, 'The Poetic Structure', pp. 8ff; Kessler, 'Response', pp. 1213; Ridderbos, 'Response', p. 20.
80
Between Sheol and Temple
character of self-description, 43.1-4 are addressed to God as prayer. It is
natural to stress the compositional significance of the prayers for the
psalm as a whole, with the two first parts preparing for and motivating
the address to God. But the refrain disturbs this function by the introduction of a second level of communication, now with the soul as the
addressee.
Within a psalm of this character, to stress the significance of the first
level is obvious—its literary present connected to a situation of prayer.
But the second level should not be disregarded as solely ornamental.18
This is demonstrated in Psalm 131. Here is depicted a parallel situation
of an I related to his soul as the weaker part; the soul even having
undergone educational development and change for the better (vv. 12).19 And here also, this situation is connected with waiting for God in
the form of an admonishment, now addressed to Israel (v. 3). Obviously,
the situation of the human in inner dialogue between a stronger and
weaker part, the latter represented by the soul, must refer to some traditional situation.20 Thus, the two I-descriptions as related to the admonishment to wait correspond with the 'soul' and 'Israel' in a parallel
addressee relationship. The main difference between the two Is seems to
consist in Psalm 131 as expression of a more advanced stage of soulsoothing.
In this way, the composition of Psalm 131 stresses the significance
of the refrain to the composition as a whole. The literary now is not
only concentrated into a situation of prayer addressed to God, but also
into an inner dialogue addressed 'downwards'. With Psalm 131 as an
independent composition consisting of I-description and admonishment,
18. Alonso Schokel's sensitive efforts of analysis of the 'Dialogue structure' and
the 'Dynamic structure' of this psalm in 'The Poetic Structure', pp. 8ff, are marred
by far too optimistic expectations as to the possibilities of immediately transcribing
the literary expressions into descriptions of the poet's inner drama; cf. also Kessler,
'Response', p. 13
19. To this psalm cf. the detailed analysis of W. Beyerlin, Wider die Hybris des
Geistes. Studien zum 131.Psa.lm (SBS 108; Stuttgart: Katholisches Bibelwerk, 1982).
20. Cf. a comparable situation of address also in Pss. 62.6 and 116.7 together
with 35.3 and the negative message Ps. 11.1 (confronted with the dogmatic statements
vv. 4ff.) in addition to 77.3 and the hymnic challenges 146.1 and 103.Iff., 22; 104.1,
35. T as acting with regard to the soul cf. also 35.13 and 69.11 and further 25.1;
86.4; 143.8 (24.4).
3. Psalms 42-43: The Sacred Journey
81
Psalms 42-43 as a whole could be characterized as an admonishment
motivated by the I-forms.
On the other hand, both the first and the second part are introduced
by descriptions of the soul's plight addressed to God (vv. 2-3 first line,
v. 7 first line). While these forms add to the significance of the soul
motifs, they stress the importance of the prayer situation as relevant also
for the admonishment. Within the psalm as a whole, the I represents
some kind of mediation between God and soul, reminding God of the
soul's plight, reminding the soul of God's help.
The background for such a situation could be related to the understanding of these texts as applications of a religious ideal. The relationship between third-person and first-person forms of the psalms analysed
above characterizes the I as a being in between, seeking identification
with the religious paradigm, but still on the outside with regard to dwelling in the temple, in danger of succumbing to the enemies and thus to a
negative fate. Moreover, the texts seem to reflect a level of application
where the ideological paradigm is rather closely connected with the biographical experience. For this type of usage, the I described with the
characteristics of the ideological figure not only represents an ideological
level of what really takes place in a life crisis, but seems quite directly to
reflect a personal biography of immediate application of the religious
ideal.
The idea of the paradigm not only applied as an external frame of
ideological interpretation but as an ideal embodied by the personal fate is
supported by the I of Psalms 42-43 split into supplicant confessor and
the anguished soul. In this constellation, the I, representing the religious
ideal, is applying the dogmatic truths in admonishment as relevant to the
soul's suffering, while the soul's suffering is presented to God in the
prayers.
The significance of such a situation as representing the literary now of
the psalm is stressed by Psalm 131. Here the motifs depict a more
mature I, with a still soul as the result of a history of the I 'making still'.
The parallel motif development of the two texts could show that the
inner cleavage of Psalms 42-43 represents an intermediate stage of
some person enacting the religious ideal. Moreover, Ps. 131.3 with the Idescription applied in the admonishment of Israel even suggests that an I
of such personal achievements represents a paradigmatic figure.
Given the subjective and emotional character of the composition as a
whole, it is the more interesting that the motif development of the three
82
Between Sheol and Temple
parts vv. 2-5, 7-11 and 43.1-4 applies the super-personal, objective
stereotypes of the given motif structure for the description of the I.
2. Verses 2-5
As the hart longs for flowing waters,
so my soul longs for you, God.
My soul thirsts for God, for the living God.
When can I come and be seen before God?
My tears have become my food by day and night
as they say to me all day long: Where is your God?
This I shall remember as I pour out my soul within me:
How I went by in a throng and made them go (?) to the house of God
to the noise of joy and thanksgiving, a mass of sound and feast.
The composition of these verses is centred round the three questions in
vv. 3, 4 and 6. The first question relates the I as 'coming' to God and
the second implies God as absent in relationship to the I. The address to
the soul (v. 6) is connected with these basic motifs, with 'waiting for
God' implying God as 'coming', while the motifs of praise connect to
the situation of 3b.
The suggested connection between vv. 2-3, 4 and 5-6 as subunits corresponds to the motif development. The first is given to motifs of water
and thirst in addition to the motifs of temple entrance. Verse 4 continues
the motif of water and implied drinking,21 but now with tears for food.
Corresponding with the negative form of the 'water' motif contrasting
the longed-for drinking, the question in this subunit is in the form of a
taunt.
In this way, vv. 2-3 and 4 connect to the same basic motifs, describing
the same situation by contrasted use of the motifs. Materially, both stress
the problem of relationship to God by categories of locality.
Verse 5 stands more apart within the composition. But the motifs correspond to the implied temple motifs of the preceding verses, now as
probably describing similar occasions of temple relationship in the past.
Due to the play on water motifs in vv. 2-3, it is natural to stress the
special ending of v. 5 as a parallel reference to these categories.22 In this
21. Craigie, Psalms 1-50, p. 326.
22. Cf. 'dbar and qol used for both the procession (v. 5) and the terrible water
falls (v. 8). The soul's hama, v. 6, and as 'poured out' in v. 5 suggests that also for
this concept water categories are applied.
3. Psalms 42^3: The Sacred Journey
83
context, the surging throng described as moving masses of water must
refer to the imagery of vv. 2-4 and also to the imagery of the soul as
poured out, v. 5. The water richness of the past contrasts both the
present aridity in the preceding verses and must prepare the negative
water motifs in the new description of the present situation of v. 8; the
'remembering' of past 'waters' in festival movement is contrasted by
the present 'remembering', v. 7, to the sounds of the terrible waters,
v. 8.23
This supports Alonso Schokel's assertion that water motifs dominate
the psalm,24 at least vv. 2-8. On the other hand, the richness and variety
of application warns against too hasty an identification of their function.25 The thirst of the hart for water and the thirst of the soul for God,
the tears of the I and the outpouring of the soul, the sound of the festival
throng and the sounding of the soul and finally the terrible call of the
deep can not be easily abstracted into one set of imagery. Within the
first part the different water motifs could reflect some contrast of 'much
water as good', 'lack of water as bad'—corresponding to the (probable)
contrast of aridity and rains in Psalm 84 and also the 'torrents' of
Psalm 36. But this simple contrast effect of the first part is broken by
v. 8, posing the I flooded by the deep as the parallel to the thirst for
'flowing waters'.
On the other hand, the concept of the temple is a common denominator for the separate images. Temple ideology with traditions of
'Cosmic' or 'holy mountain' could explain some aspects, including the
deep motifs of v. 8.26
But for the motif execution of vv. 2-4, a background of a sacrificial
meal must be relevant (cf. especially the imagery of 36.9-10). Thus, their
23. Craigie, Psalms 1-50, p. 326 stresses the connection of zdkar vv. 5 and 7.
24. 'The Poetic Structure', p. 4; cf. Kessler's contrasting assertion, 'Response',
p. 12, that the water as a 'simile' is 'strictly subordinate to the relationship of the poet
to his God' and Alonso Schokel's 'Response to Ridderbos and Kessler', pp. 64-65,
on the meaning of an image with 'symbolic value' as understood within the literary
categories of Ricoeur.
25. Cf. Alonso Schokel, 'Response to Ridderbos and Kessler', p. 65 on the water
motifs of vv. 2ff. and 8 as God appearing 'in the poem in two symbols, from one
semantic field, but mutually antithetical', which reflects the 'the polarity within the
experience of God as a mysteriumfascinans et tremenduni1.
26. Tromp, Conceptions of Death, pp. 205ff.; R.J. Clifford, The Cosmic Mountain
in Canaan and the Old Testament (HSM 4; Cambridge MA: Harvard University
Press, 1972), pp. 158ff., 177ff.; Hauge, 'The City facing Death', pp. 1-29.
84
Between Sheol and Temple
connection with motifs on the divine presence corresponds to the concluding description of the temple in 43.3-4, qualified as the altar and the
divine presence. These applications—especially compared with 36.910—illustrate how freely this background can be alluded to. The simile
of the hart of v. 2 and v. 4 presupposes a rather close relationship to
some concrete eating and drinking. Subjectively, the crisis of the I is
comparable to the thirst of the hart, juxtaposed to the I's present diet of
tears. But fundamentally, the imagery of vv. 2-3 is determined by a
more distant relationship, by the implication of 'drinking God' which is
deflected by the traditional motifs of v. 3 second line 'come and appear
before God'. A similar application is found Ps. 17.15. The I as 'sated by
God' reflects a more direct application. But also here this is mitigated by
the more acceptable form of intimate communion with God through
seeing. On the other hand, the parallel applications must reflect that the
connection of eating/drinking and seeing/being seen must reflect a traditional language of some special communion between God and worshipper in some special place.27
The water motifs of v. 5 break the implied sacramental frame by their
connection with the mythic concepts of the deep in v. 8. But as
qualification of the temple procession, they also here refer to temple
relationship. And also the seeming break with regard to the preceding
applications could be traditional. The 'torrents of your delights' and the
'fountain of life' in 36.9-10—especially when related to the temple
description of Ezekiel 47—suggest that the sacramental drinking need
27. Cf. also the sacred meal of, for example, Exod. 24.11 combining eating and
seeing, corresponding to Ps. 17.15. Isa. 25.6-7 is of special interest in connection
with Pss. 42-43 and 36.9-10 with a motif structure of eating, seeing and death/life
motifs in a context of dwelling in the temple and connected with the divine
intervention. The 'covering' of v. 7 is now usually understood to refer to rites of
sorrow, H. Wildberger, Jesaja. II. Jesaja 13-27 (BKAT 10.2; Neukirchen-Vluyn:
Neukirchener Verlag, 1978), p. 966, and O. Kaiser, Isaiah 13-39(OIL; London:
SCM Press, 1980), p. 201; both pointing to 2 Sam. 15.30; 19.5; Jer. 14.3-4;
Est. 6.12. On the other hand, the concrete use of lot 1 Kgs 19.13 provides good
support for the older understanding however 'mystical'. In a context of critical valuation of the theophanic tradition (J. Jeremias, Theophanie. Die Geschichte einer
alttestamentlichen Gattung [WMANT 10; Neukirchen-Vluyn: Neukirchener Verlag,
1965], pp. 112ff.; Eichhorn, Gott als Pels, pp. 84ff.), the prophet's covering his face
could illustrate the significance of the theophanic vision as traditionally an 'unveiling'.
On the other hand, the veil motif could allude to more than one connotation; cf. the I
of Ps. 42 in v. 10, 43.2 and also in 30.8, 12-13.
3. Psalms 42-43: The Sacred Journey
85
not be confined to the cups of Pss. 23.6 and 116.13!
In this way, the water motifs of the first part demonstrate the central
function of the temple concept. The flexibility of these applications, with
a pronounced literary freedom for allusions and pars pro toto representations, demonstrate that the verses refer to a wide range of connotations not easily accessible to our analytical tools and not easily abstracted
into one type of language usage. But even if we miss many of the
aspects communicated, it is evident that the temple represents the frame
of reference for these verses; with vv. 2-3 describing the temple as
longed for, v. 4 describing the present by a negative form of temple
relationship, v. 5 referring to a past temple relationship, the refrain
referring to a future one.
Basic for these motif groups is the temple qualified by the divine presence, in addition to motifs which describe a special relationship to the
divine presence. This corresponds to the parallel qualifications of the
psalms analysed above. The subjective types of motif in first-person
forms in Psalms 42 and 84 stress especially the connectedness of some
special relationship to God and to temple: longing for God means
longing for the temple (Ps. 42), while longing for the temple means
longing for God (Ps. 84).
At first hand, this would seem a rather obvious and even superfluous
observation. But in view of the traditional models of understanding, it is
necessary to stress this obvious fact. Thus, both with regard to this text
and especially to texts like Psalm 140 with less prominent temple motifs,
the traditional approach links divine intervention not to these categories,
but to the 'real' problem of the I. With sickness or war or some judicial
process or other types of socio-historically probable difficulties as the
real problem of the I, in this text added to by geographical distance and
homesickness, motifs on the relationship to God and temple are subordinated to the real problem. Save for the function of miracle-maker, and
thus connected to some real cultic setting of prayer and thanksgiving,
the motif of God is given a purely ornamental function compared
to what is understood as the reality of the I.28 Given the culturally
28. A good illustration of the tendency to treat the God motif as the ultimate
metaphor is provided by Goulder, Sons ofKorah, pp. 13-14, 27ff. To Goulder, v. 7 is
of crucial importance in precisely locating the original sanctuary of the Korah-psalms
to Dan on the river Jordan. The waterfalls of v. 8 are identified with the local spring of
the river and mean to the exhausted throng that the thirst described in vv. 2-3 soon is
to be slaked. The longing and thirst for God of this psalm, as well as Ps. 84, refer to a
86
Between Sheol and Temple
conditioned preconceptions as to what constitutes real reality and
how this is expressed in language, even the categories of 'symbol' and
'symbolic' of more recent models of understanding should be avoided
as analytical tools. Such terms will be relevant to questions of function in
connection with original and later applications of the texts, and thus
ultimately to questions of meaning. But in analysis of the language, their
function could be doubtful. This is demonstrated by the composition of
42.2-6. On the one hand we find a clear motif consistency, centred
around water motifs. On the other hand, this consistency is coupled with
an almost playful series of motif applications. Linking this series is a
single-minded concentration on temple motifs. The relationship to God,
connected to temple motifs, both represents the object of the I's longing
and of the divine intervention (43.3-4). Here the crisis of the I clearly
consists in separation from God and temple.
3. Verses 7-11
My God!
My soul is cast down within me! therefore I shall remember you
from the land of Jordan and Hermon, from the little mountain.
Deep calls to deep, to the noise of your torrents.
All your breakers and waves fall over me.
By day Yahweh calls forth his grace.
By night his song is with me, a prayer to God my life.
I say to God my rock: Why have you forgotten me?
Why do I go mourning from the oppression of my enemy?
With murder in my bones (?) the adversaries taunt me
when they say to me all day long: Where is your God?
This part also is formally dominated by the composition of two questions,
that of the I and of the enemies' taunt. Here the two questions are connected as a conclusion for the two first parts, immediately preparing the
prayers of 43.Iff. The introductory 'amar of vv. 10 and lib link the
two questions as a contrast: 'When they say to me, I say to you'. Such a
connection is also suggested by the enemy motifs in the I's question
v. 10 and the elaborated version of the taunting question in v. 11 compared to 4b. In this way, the I's saying would stress the I as turning
most concrete situation, namely to the throng's panting after many days' strenuous
walking and climbing. The parallel deep motifs of 88.6-7 are given the opposite
function, reflecting a special rite of the Dan sanctuary, in which a priest is placed in a
dark and watery pit for the optimum of spiritual concentration (pp. 198-99).
3. Psalms 42-43: The Sacred Journey
87
towards God in his situation of distress. This orientation qualifies the I as
confessor (cf. below to a similar motif development in Ps. 27.1-4). And it
corresponds to a self-description introduced as a 'remembering of God'
in v. 7.
Such an interest is also stressed by the qualifications of God as 'my
God' (v. 7), 'God my life' (v. 9) and 'God my rock' (v. 10), which correspond to the concluding 'God my God' of 43.4 and above all by the
similar forms of the refrain. In the first part, such constructions are only
found in the enemies' taunt 'your God', v. 4.29
The use of day and night motifs in v. 9, connected to the enemies'
taunt in vv. 4b.l Ib, could also have a similar function.30 In this way, v. 4
and v. 9 would function as parallel central expressions of the I in crisis,
representing different aspects of the crisis with the I as sufferer (v. 4 as
connected with vv. 2-3) and the I as the suffering confessor in vv. 9-11.
The verses are not primarily subjective outpourings, but expressions of
the I 'remembering God' in his distress.31
The Fs distress is clearly linked to the oppression by the enemies, concentrated by the taunt. Thus, while the first part (vv. 2-5) is dominated
by motifs on the I related to God and to temple, the second part (vv. 711) is correspondingly dominated by the I as related to his enemies. This
composition, which stresses the significance of the enemy motifs for the
second part, corresponds to the composition of the prayers 43. Iff., the
29. Alonso Schokel stresses the insistent repetition of the name of God, though
asserting that is has no 'clear structural value', The Poetic Structure', p. 9.
30. The riddle of the function of v. 9 in the context could be solved by the imperfect-forms understood as referring to the past, and thus with a function similar to v. 5
in the context, Ridderbos, 'Response', pp. 16f.; Broyles, Conflict of Faith, p. 204. On
the other side, the relationship of vv. 4 and 9 must be important. Thus, to Alonso
Schokel, 'The Poetic Structure', pp. 10-11, in v. 9 'at the exact centre of the strophe'
'speaks the voice of hope' which transforms the painful continuity of day and night
into an 'alternating rhythm of grace and of praise'. The change reflects 'an emotional
transformation' due to an inner voice of self-encouragement.
31. Cf. especially Gerstenberger, Psalms Parti, pp. 179-80 stressing the I in this
psalm not as the subjectively emotional sufferer, but with the complaint linked to the
affirmation of confidence. This assertion could also negatively be related to
W. Brueggemann, 'Shape for Old Testament Theology I: Structure Legitimation',
CBQ 47 (1985), pp. 28-46, and 'Shape for Old Testament Theology II: Embrace of
Pain', CBQ 47 (1985), pp. 395-415; and to Broyles, Conflict of Faith (e.g. pp. 5 Iff.).
To the latter, the complaint category is important with its implications of protest and
argument, to Brueggemann as implying confrontation with the traditionally accepted
theological structure.
88
Between Sheol and Temple
first of which (vv. 1-2) reverts to the immediately preceding enemy
motifs.
Against this background, the motifs of vv. 7-8 pose a special riddle.
The geographical references of v. 7 have, when not emended, led to
many peculiar historical suppositions on the situation of the I. Verse 8
seen for itself would immediately suggest the I to be in a situation
described by the more elaborate motifs of Psalm 88.32 And v. 7 seen for
itself could be related to, for example, Psalm 120 with similar geographical references in v. 5.33 The present location of the two verses, without
any expression of rupture, would suggest that the description of the I's
locality in v. 7 is immediately continued by v. 8, in a combination of
motifs of mountain and the deep of Sheol.34
As to the function of vv. 7-8, the often referred to Pss. 61.3 and 9.14
could serve for parallels. In addition, the similar riddle of the 'Bakavalley', 84.7—with a corresponding function as a place of crisis and
related to temple motifs—should be connected to the problem. But with
the precise geographical references, Ps. 120.5 is of special interest. Here,
the I is located in a 'bad place', the locality characterized by enemy
motifs and by a situation of prayer given to the enemy problem—that is,
a situation which corresponds closely to that of the I in 42.7ff.
A possible background for such 'topographies' could be found in, for
example, Pss. 76.5 and especially 68.16-17 and 46.3-7. In the two first,
we find Zion contrasted to rival mountains, especially vividly and in
mythical terms in 68.16-17. With the following procession motifs
(vv. 25ff.), the context of 68.16-17 is also of special interest as a parallel
to 42.7-8. Ps. 46.3-7 adds to such an ideological 'topography' of contrasted mountains by combining motifs of mountain and sea, that is, a
motif combination which corresponds to that of Ps. 42.7 followed
by v. 8. In Psalm 46, the 'tottering mountains' are contrasted to the
32. Cf. especially Dahood, Psalms I, p. 258 and Tromp, Conceptions of Death,
pp. 91, 145-46.
33. Rogerson and McKay, Psalms 1-50, p. 203, qualifying the spatial language
of Ps. 42 as 'symbolical', that of 120 as 'metaphorical' (p. 114); cf. also
Gerstenberger, Psalms Part I, p. 180 '—separation from Yahweh and his temple is
expressed by employing the imagery of the wild regions of the northern mountains'.
34. While v. 8 as a qualification or immediate continuation of v. 7 represents the
traditional view on the un-emended text, Craigie, Psalms 1-50, p. 325 finds the two
verses to express contrasts of experience. Verse 7 reflects the poet's effort to mentally
call forth places where he experienced the presence of God. But the effort is
unsuccessful; only 'springs of chaos and despair are released in his mind'.
3. Psalms 42-43: The Sacred Journey
89
'non-tottering' God's city (vv. 3, 6). And the contrast mountains,
described as 'mountains in the heart of the sea', combine in one image
what in 42.7-8 is described by two added images.
The immediate linkage of the two motif sets in Ps. 68.23 could even
suggest that such a combination is traditional. With Bashan qualified as a
rival mountain in vv. 16-17, the combined motifs in v. 23 can hardly
have the usually supposed function as a vivid simile for 'everywhere',35
but must have more sinister connotations. This corresponds to the
context of v. 23, which refers to a situation of enemies and divine
retribution.36 So there is a motif cluster of contrasted mountain, sea,
enemies and divine intervention which corresponds to Psalms 42-43,
especially as connected to a frame of procession and temple motifs. Such
a motif cluster is also demonstrated by Psalm 46, by the application of
the mountain and sea imagery in v. 7.
In this way, the connection between 42.7 and 8, followed by motifs
which qualify the 'bad place' as a place of enemies, can be understood
as an expression for a traditional set of motifs. The different expressions
demonstrate that the motifs can be differently applied. What, for
example, in 46.3 and also 68.23 is combined in one image, is in 42.7-8
executed as two related motif sets of relatively independent character (cf.
on the one hand Psalm 88, on the other hand 120.5 together with 76.5
and 68.16-17).
When we also take expressions like Pss. 61.3 and 9.14 into consideration, the concept of the contrast or negative locality must be connected
with extremely rich and varied motif groups, used with a remarkable
literary freedom for individual application. The 'contrast locality' is
obviously peopled, in, for example, Psalm 120 by the enemies of the I,
and in Ps. 88 by the dead. This would correspond to the combination of
42.7-8 with the enemy motifs of vv. 10-11.
Moreover, Psalm 46 even suggests that 42.2ff. as related to vv. 7ff.
could represent a traditional motif connection. The 'pleasing waters' of
the holy city completes the image of the non-tottering God's city as the
contrast to the tottering mountains in the sea. This would correspond to
the imagery of Psalm 42, with the I located in the watery hell of v. 8,
thirsting for the waters of the divine presence (cf. also Ps. 68.7ff. with a
35. Cf. e.g. 36.6-7 demonstrating a more abstracted usage.
36. Hauge, The City facing Death', pp. 22-23.
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Between Sheol and Temple
similar contrast of dryness connected to the evil and a miracle of rain in
the desert).37
Such a connection between two contrasted localities of water could be
stressed by the composition of vv. 5 and 7-8. The motif of zdkar links
the two verses, especially as connected with parallel soul motifs. In v. 5
the description of the procession is coloured by concluding water motifs.
The 'sound' of the throng in procession qualified as waves of the sea
subtly connects the two situations of v. 5 and v. 8. The watery past of
the I in procession to the temple is thus contrasted to the watery hell of
the present locality. Also, the temple motifs concluded by the image of
the I surrounded by people would correspond to the categories of the
contrast locality of rival mountains and the deep as peopled with the
enemies.38 The formal composition of vv. 7-11 stresses the enemy motifs
as the most significant characteristic of the contrast locality. As the conclusion of the second part, immediately preparing the enemy prayer of
43.1, the enemy motifs of vv. 10-11 dominate the expression of the I's
'remembering' in vv. 9-11. In this way, the concluding procession and
enemy motifs stress the contrast relationship of the two first parts.
The relationship of vv. 2-5 and 7-11 suggests a meticulous composition which contrasts the two localities. The I is located to a place which
in every respect is qualified as 'not temple'. Such a contrast could also
characterize the composition of Psalms 42^-3 as a whole. In vv. 7-8 the
37. Ultimately, this motif connection might be related to Alonso Schokel's
assertion of the contrasted water motifs as expressions for 'the polarity within the
experience of God'. If so, such an understanding could be related to the cosmological
categories of Ps. 74.13-14 followed by v. 15 and 104.6-9 followed by vv. 10-11,
which suggest some kind of connection between the waters of the sea and the sweet
water of fountains. Such a connection could also be reflected in the present
composition of Gen. 1 and 2ff. This could also be related to the 'water' motifs of Isa.
40-55 , with the many versions of Yahweh as connected with water/fertility (41.17-20;
44.2-4; 45.8; 48.18, 20-21; 49.9-11; 50.3; 55.1-2, 10-13) and as somehow negatively
related as e.g. 'drying out' (42.14-17; 43.2; 44.26-27; 50.2-3; 51.9-10; 54.9-10),
combined 43.16-21 and also 51.15-16; cf. Barstad, Way in the Wilderness, pp. 21-36
on their possible background and function.
38. Cf. also the parallel motif constellation of temple, rival mountains and
enemies, the latter as dead expressed by motifs of sleep (T.H. McAlpine, Sleep,
Divine & Human, in the Old Testament [JSOTSup 38; Sheffield: JSOT Press, 1987],
p. 68) in Ps. 76.2-7; in addition to the startling possibilities for free application of
'water' motifs in connection with temple and enemy motifs illustrated by Ps. 48.8
and Isa. 33.16, 21, 23 in their present contexts.
3. Psalms 42-^3: The Sacred Journey
91
contrast locality is qualified by the peculiar constellation of mountain and
deep motifs. This corresponds to the temple of the first part, vv. 2-5,
qualified as watery place, and thus juxtaposed to v. 8. In the third part,
43.1-4, the temple is qualified as a mountain in v. 3, corresponding to
the qualification of the contrast locality as a place of mountains in v. 7.
This compositional development would also emphasize the significance of the mountain and deep motifs as combined in vv. 7-8. The
startling imagery of the I as located both in the mountains and in the
deep could play on the connotations of the two motif types. Thus
Pss. 68.16-17 and 76.5 both refer to rival mountains. And the secondperson forms of 42.8 suggest the watery hell as a place of divine punishment and retribution. This would correspond to the deep as described
in, for example, Psalm 88. Connotations of this kind would correspond
to the repeated questions of 42.10 and 43.2, where the suffering of the I
as related to his enemies is described as ultimately due to the divine
'forgetting' and 'rejecting' of the I.
This adds to our understanding of the contrast place and could have
significant implications. With the deep as a place of retribution connected
with the divine activity, it also qualifies God in a 'negative mode', ultimately the subject of the I's suffering, with waters and enemies for
parallel means of retribution (cf. above to the narrative elements of
Ps. 118.5, 13 and 18 as parallel expressions for three aspects of the I's
suffering). But in addition to God's being connected with retribution, the
I's remembering also qualifies God as positively active through his
'grace' (v. 9). The day and night motifs of v. 9, corresponding to v. 4,
must connect this divine activity to the present situation in the negative
place.
This seemingly contrasts with the imagery of vv. 2-5. Here the motif
execution is only meaningful with God understood as terribly absent
relative to the I, with the divine absence connected with the I's absence
from the temple. But obviously also stay in the contrast place is characterized by some kind of relationship to God. With God qualified both as
negative and as 'summoning his grace', the contrast place includes some
kind of, if not divine presence, then activity through the mediums of sea
and enemies and 'his grace'.
This must be linked to the contrast locality as the place of zdkar, with
the confession on the presence of 'grace' (v. 9 first line) and the nightly
'his song' and 'prayer' of vv. 10-11 as the concrete expression for the
'remembering'. Thus, also dwelling in the contrast place implies some
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Between Sheol and Temple
relationship to God, as suggested by the terms of 'remembering', 'song'
and 'prayer' in addition to the motif of waiting in the admonishments to
the soul. The two latter motifs also implicitly qualify the contrast locality
as the place for the miraculous divine intervention.
These qualifications could suggest important aspects of the motif
structure. But the compositional development of the second part concluded by vv. 10-11 stresses the presence of the enemies as the most
important characteristic of the contrast place. In addition, the I is
qualified as the 'rememberer' from the contrast place, that is, as the suffering confessor.
4. Psalm 43.1-4
Judge me, God! and struggle my struggle!
against a people without grace.
From a man of deceit and wrongness—deliver me!
For you—God my fortress—why have you rejected me?
Why do I walk around mourning from the oppression of my enemy?
Send your light and your truth—they lead me!
They make me come to your holy mountain, to your dwelling!
So I can come to the altar of God, to God the joy of my rejoicing,
so I can praise you with the lyre, God my God.
The two prayers, separated by the fc?-sentence of v. 2 which repeats
elements of the address 42.10-11, conclude the motif development of the
two first parts. The introductory enemy prayer of vv. 1-2 immediately
continues 42.7-11, with the enemy situation as the central characteristic
of the contrast locality, while vv. 3-4 reverts to the temple motifs which
dominate 42.2-5. The parallel composition of the prayers, stressed by the
meticulous composition of Ps. 42, demonstrate that enemy and temple
motifs are closely connected as expressions for the one crisis of the I.
It is interesting that the motifs of vv. 1-2 qualify the enemy problem
as a situation of struggle and conflict, from which the I is to be
'delivered' by divine intervention. In Psalm 42, the enemy motifs refer
mainly to a situation of taunting, in connection with a situation of suffering, related to the I as absent from the temple and confined to the
contrast place. Connected with this imagery, the divine intervention, also
with regard to the enemy situation, would consist in the prayer of vv. 34 as fulfilled. God leading the I to the temple would have silenced
the taunting enemies. Thus, the prayer of Ps. 43.1-2 reverts to the
enemy situation of the other texts, which must represent the traditional
expression for the crisis caused by the enemies. Such a relationship to
3. Psalms 42-43: The Sacred Journey
93
given traditions is also suggested by the form of the enemy prayer.
Verse 1 corresponds to 140.2ff., 5-6 and 36.12, with verbs related to
objects of qualifying nouns, in a chiliastic structure. Obviously, the basic
enemy situation consists in the I being related to figures of 'evil' in a
situation of conflict and 'struggle', from which he is to be 'delivered'.
The I as separate from the evil—not only connected to a situation of
conflict, but with regard to 'volitional' life orientation—is stressed by
84. lib.
Such a parallel relationship between the execution of the enemy motifs
in Ps. 42 and 43.1-2, the first representing a more individual expression,
the latter reverting to traditional forms and motifs, is comparable to the
relationship of first-person forms and third-person statements of the
texts analysed above. We found that this relationship could be explained
as expressions for individual applications of the given motif structure,
with the paradigm of the saddiq applied to some singular situation. While
the motif pattern in Psalms 42-43 is expressed in first-person forms, the
specific character of the two expressions for the crisis of the I in Psalms
42 and 43 could reflect the same type of relationship between traditional
forms and individual application.39
The second prayer, 43.3-4, reverts to the crisis as it is described in the
first part, 42.2-5, with the I separated from the temple. The significance
of the temple as the place of relationship with God is vividly expressed
by the nouns of locality in vv. 3b, 4 first line. Split two and two between
forms of bo, the arrangement depicts the I's coming as a gradual
coming near to God: 'to your holy mountain, to your dwelling', 'to the
altar of God, to God the joy of my rejoicing'. The final address 'God
my God' concludes this gradual heightening of intensity connected with
the categories of locality.
The motif connection with Ps. 42.2-5 is expressed thus, with the
elements of 3b and the first line of v. 4 as an extended version of the
motifs of 42.3 second line, with bo for the central verb. In addition, the
qualification of the temple as mountain in v. 3 concludes the composition
of the psalm as a whole. The contrast place of the second part, 42.7-11,
described as a place of mountains and deep in vv. 7-8, corresponds to
the qualification of the temple in the first part, 42.2-5, as a place of
39. This also suggests a relationship between external and internalized categories,
the enemy situation as relevantly described by, for example, motifs of war or
persecution as by motifs which refer to inner mental and emotional categories (cf.
also above on Ps. 36).
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Between Sheol and Temple
water, and in the third part of Psalm 43 as mountain.
These indications of a meticulous composition, which connects the
three parts as expression of the situation of the I, is important with regard
to the motifs of the second prayer as a prayer to be led to the temple, to
the divine presence. For the psalms analysed above, we found that the
relationship of the motifs suggested that the I's being 'on the outside' of
the temple constituted the crisis, and that the divine intervention was
related to temple admittance and dwelling as the 'real' problem of the I.
On the other hand, in these texts the I as related to dwelling in the
temple is mainly expressed in the application of third-person statements.
Given this background, it must be significant that in Psalms 42—43, with
the given motifs consistently expressed in first-person forms, not only
are motifs of longing and subjective orientation related to the I, but
also the divine intervention is directly qualified as 'making come' the I
to the temple. Moreover, this definition is stressed by the I localized to
a contrast place consistently defined as anti-temple in the second part,
Ps. 42.7-11. With the reversion to the traditional enemy motifs in the
parallel prayer 43.1-2, it is clear that the motif development of Psalms
42-A3 is relevant to the other texts.
The temple prayer introduces a special set of motifs, in addition to
those of Ps. 42.3. The motif on the I as 'coming' to the temple is
extended by motifs on 'light' and 'truth' 'sent out' by God to 'lead' the
I and 'make him come'. The idea of movement relative to the temple
represents a natural extension of the imagery of the first two parts. With
the I localized in the negative place, longing to come to the temple,
motifs which describe the I in movement from one place to the other
represent a making explicit of the imagery implicit to the first two motif
groups. Also, this corresponds to the way motifs of Psalms 140 and,
especially, 84, the latter with a qualification of the journey related to
God and temple as pilgrimage. Also, the use of the procession motifs of
Ps. 42.5 must be relevant as an expression of this idea.
As well as alluding to the motifs of temple and of the contrast locality,
Ps. 43.3-4 could refer to a third set of relatively independent motifs. As
in Ps. 84.6-9, the way motifs refer to miraculous categories. The special
character of this motif group could also be reflected by the concrete
motifs which express divine intervention. God is not acting directly, but
guides the I by the substitutes of 'your light' and 'your truth'.40 This
40. E.g. Gerstenberger, Psalms Part I, p. 181.
3. Psalms 42^3: The Sacred Journey
95
suggestion of a special divine mode of acting in connection with way
motifs would correspond to the different descriptions of God and relationship with God in connection with the contrast localities. The relationship with God in the temple in these texts obviously represents something
special. Within Psalms 42-43, the motif development seems consistently
to presuppose God as localized to the temple, with absence from the
temple meaning absence from God. But also, Ps. 42.7ff. suggests a special
relationship to God in a negative mode, with the contrast place as a
place of retribution, in addition to the divine 'summoning of his grace',
and the I as 'remembering', 'praying', and exhortating his soul to 'wait'.
5. Conclusions
a. The Motif Structure
Given this background, the meticulous composition and motif development of Psalms 42^-3 is of special significance for the understanding of
Psalms 36, 84, and 140. The four texts could represent singular expressions of a given motif structure based on some 'sacred topography'. The
composition of Psalms 42-43 expresses an especially clear motif representation, with 'reality' defined by motif sets of two contrasted localities.
In addition, a third motif set connected with movement, by divine guidance, between the two localities complements the motif structure. It is
clear that the topography of this and the other texts is of ideological
character. It gives a religious description of man as a being located
somewhere in a sacred landscape of temple, contrast locality, and way.
The negative locality obviously has the characteristics of Sheol, with
death as the opposite of relationship with God (42.8, 36.13, 140.1 lb-12).
In this respect, it could be significant that Ps. 42.7-8 qualifies the negative
place as a place of divine retribution, connected with revolt and rivalry.
This corresponds to the category of 'evil' related not only to the enemies,
but also to the I (36.12-13, 84.11 and further as general statements on
the negative fate 140.1 lb-12). The local category of the negative place
seems to encompass two aspects immediately linked, one volitional
aspect of revolt and evil, another of retribution and defeat and suffering
and death.
Some special type of relationship with God characterizes the temple.
While motifs of praise and joy are basic for motifs of dwelling in the
temple, Psalms 42-43 together with 36 and 84 refer to a tradition of
some special communion with the divine presence, connected with
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Between Sheol and Temple
motifs of meal linked with seeing/being seen. In Psalm 36 the meal is
connected to life and seeing light, in Psalm 42 connected to the motif of
the soul's thirst for God.
While the contrast place is related to the evil, the temple is inhabited
by some special beings. In Ps. 140.14 the special character of the positive
group is suggested by the terms 'righteous' and 'upright of heart'—the
significance of the term saddiq emphasized by Psalm 118. But motifs of
positive qualification of the ideal figure are peculiarly scarce in the four
texts (cf. 84.6) compared with the richness of negative motifs. The situation of the I and the stereotyped self-descriptions of the I as the suffering
confessor, orientated towards the temple and relationship with God, with
the solution of the crisis dependent on the divine intervention, could
serve as the most concrete illustration of the characteristics of the
blessed temple dwellers.
For motifs of the way, miraculous categories are characteristic
according to Pss. 84.7-8 and 43.3-4. Psalm 43.3 qualifies the movement
of the I by motifs of divine guidance 'making come' the I to the temple,
the significance of which is emphasized by the motif development of
Psalm 23 centred round the concept of the divine shepherd.
In this way, Psalms 42-43 are of special importance as a clear
representation of the three motif groups which form the basis of the
applications of the motif structure in the other texts.
As related to the three motif sets, the I is described in a consistently
passive mode. While the motif groups also can be used with the I as
active (cf. below on Psalm 26), the I in these texts—both as related to
the torments of the enemies/the negative place and to the temple—is
completely in the hands of external forces. The motif of waiting for God
of the refrain in 42-43 seems the suitable response to a situation of suffering heightened by the qualification of the I in these texts as confessor.
Left to himself, the I is doomed. On the other hand, this stresses the
importance of the miraculous categories for these psalms as a whole.
The I of this sacred landscape of Temple, Sheol and Way, is a being of
transformation and change—with change, corresponding to the local
categories, expressed most clearly as movement. Compared with the
inhabitants of the two localities, the I is in between, a being very much in
movement related to one of the localities. The third-person statements
relating to the temple and the expressions of longing in Psalms 42 and
84 obviously qualify the I as basically orientated towards the temple. But
the descriptions of the crises—save for the uncertainties of Psalm 84—
3. Psalms 42^3: The Sacred Journey
97
demonstrate that only divine intervention can save the I from the negative fate of 'falling'.
The negative fate is consistently connected with categories of 'evil',
usually connected with the motif of the evil enemies. But the expressions
of the enemies' threat differ from text to text. They are actively pursuing
the life of the I (Psalm 140). Connected with the local categories of
Psalm 36, the enemies are 'making the I flee' to the place of 'falling'.
Also Psalm 43.1 presents the evil as active enemies. But other types of
description—connected to the externalized types of imagery—refer to
internalized categories, the threat of the evil related to mental and emotional phenomena. Thus, in Psalm 84, the 'tents of evil' represent the
alternative to the I's temple orientation and thus must represent localities
of subjective attraction (cf. below on Psalm 26). The elaboration of the
negative paradigm 36.2ff. could refer to the same categories of attraction
and temptation. And finally, in Psalms 42-43 the motif development of
42.7-11 together with v. 4 suggests the enemies as co-inhabitants of
Sheol, taunting the I in the same manner as the dead of, for example,
Isa. 14.9ff. In this psalm, the threat of the enemies could be related to the
dejection of the soul (cf. especially 42.4a and b).
The motif execution within each particular psalm demonstrates the literary freedom of application. Different motif types are even combined
within one psalm, with 36.2-5 related to vv. 12-13; and, especially, the
taunting of 42.4, 10-11 connected to the normal motifs of conflict 43.12. Obviously, the motif application in all cases presupposes the evil
enemies to be somehow related to death/Sheol, and to represent the
basic motif for the threat of death. But the fluidity of motif application—
demonstrated by the competing exegetical models which have been
based mainly on the analysis of the enemy motifs—suggests the motifs
carry a wealth of connotations not immediately recognized.
This is also demonstrated by the evil in relation to the contrast place.
In Psalms 140 and 36, the enemies, very much alive and seeking the
death of the I, are obviously candidates for the place of falling (cf. the
qualification of evil in connection with the general statements of 36.13
and 140.12 concluding v. 11). Here, the enemies and the I seem to be
involved in a conflict of 'who shall die?' In Psalm 42, the I and the
enemies seem to be co-inhabitants in Sheol. And finally, the 'tents of
evil' (cf. below to Psalm 26) must, as contrasting the temple, be connected with the fate of death. But alluding to places of attraction, the
motif application could suggest a relationship between the tent motif and
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Between Sheol and Temple
Sheol similar to that of the house of the foreign woman and Sheol of
Prov.2.16ff.,7.6ff.
Perhaps the most important point of reference for the understanding
of the differing applications of the basic motifs could be represented by
the situation of the I in relation to the motif structure. In this respect, the
topographical categories of Psalms 42-43 are especially helpful. In the
sacred landscape, the I can be located to Sheol, while the way motifs of
Psalms 84 and 140 locate the I to some place between the two localities.
And while Psalms 84 and 43 presuppose the way as movement towards
the temple, Psalm 36 suggests the I is in danger of a negative movement
towards Sheol. The significance of the latter is supported by Psalm 42
with the I located to Sheol qualified as a place of retribution, contrasted
to a happier past of temple relationship (v. 5). Finally, the individual
psalm must reflect subtler differences within these broad categories. This
could be illustrated by the different applications of the motifs of longing
for the temple in Psalms 84 and 42.
In these cases, the different applications of the given motifs could be
related to the basic situation of the I as stationed 'somewhere' in the
sacred landscape. Moreover, and especially in connection with the
intensely personal expressions of Psalms 42-43, it is difficult to avoid
the impression that this 'somewhere' ultimately must reflect personal
experience. This personal experience seems not to reflect experiences
separate from the basic motifs, as some ideological meta-language ornamenting the real problem, but to be identical with the motif structure as
the language of personal experience.
Furthermore, Psalms 42^3 related to the other texts justify some tentative remarks on aspects of the language of these texts. Characteristic of
this language are sets of basic components which we could describe as
motifs of temple, way, Sheol/death, enemies, the I. Viewed from this
angle, each text represents a very limited number of stereotypical material units. On the other hand, the execution of these stereotypes is characterized by a remarkable degree of literary freedom of particular
expression, making each compilation of the limited number of stereotypes into a singular literary achievement.
The combination of these two characteristics is peculiar. In view of the
usual exegetical approach (and this one) looking for some common
denominator and thus emphasizing real or asserted common factors, the
mental flexibility, if not fluidity, represented by these applications of
some given language must be stressed. This flexibility makes possible
3. Psalms 42—43: The Sacred Journey
99
the free combination and application of the basic motifs (cf. above on the
enemy motifs). Also, it permits the combination of phenomena which to
a modern mind would represent types of language which refer to different levels of reality.
Ps. 42.2ff. is good illustration of this type of combination. Verse 2a
could satisfactorily be labelled as a simile. The application in 2b, 3 first
line could represent metaphorical language, while its associations of
sacred meal would tempt labels like sacramental or mystical or
'spiritualization of ritual usage'. Verses 3 and 5 second line could be
called cultic language of 'cultic experiences'. But v. 3 second line is
obviously related to the preceding verses, while v. 5 is influenced by
mythical concepts probably used metaphorically. Verse 4 refers to real
experiences of sorrow in metaphorical language, but must also be related
to the thirst motifs of vv. 2-3 with their possible labels. And the carefree
adding of vv. 7 to 8 place mythical or cosmological motifs in continuation of the geographical references of v. 7, which, on the other hand,
combines the geography with subtle mythical overtones. All these references are combined in relation to each other and to the temple and
I motifs of the rest of the psalm, encompassing these many-sourced
torrents of connotations.
Obviously none of the usual labels does justice to this special type of
language. While terms like poetical or symbolical are readily available,
their application entails too many culturally conditioned implications and
would primarily demonstrate the exegetical lack of suitable categories.
Traditionally, the emphasis on some cultic or institutional setting has provided some frame of reference for the valuation of the literary phenomena. But with the uncertainties pertaining to such an approach, an
adequate understanding of the language used is the more necessary.
At least some aspects of this language can be appreciated when the
flexibility of the motif use is seen together with the stereotypical nature
of the basic motifs. The combination of stereotypes and literary freedom
suggests some rather fixed background of structurally given connotations. While problems of origins are too uncertain, the connection with
certain basic terms and motifs suggests that this structure is of a conceptual nature. In this way, the language of these texts could have a
markedly referential or allusive function, with the single motif execution
having some pars pro toto function.
Thus, individual pieces could be characterized by their relationship to
some basic point of interest. The differences between Psalms 36, 42-43,
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Between Sheol and Temple
84 and 140 would reflect them as parallel expressions of one motif
structure, dominated by some special interest. Thus, while, for example,
Psalm 84 has a short reference to the evil and is dominated by temple
motifs, Psalm 140 is given to the motifs of evil enemies and only alludes
to the temple in the conclusion. Obviously, the two psalms are reflections
of the same basic motif structure, while the compositional development
is centred around different aspects of meaning which come about by the
elaboration of a certain motif group. Other motifs are alluded to only as
points of reference, hinting at the more comprehensive frame of
connotations.
Psalm 23 is good illustration of the alluding character of the texts. The
two motif sets of vv. 1-4 and v. 5 create a plastic expression of the way
and guidance motifs used in 43.3-4, with the transition to You-forms and
the special motifs on Yahweh as host stressing the special relationship to
Yahweh after the arrival in the temple (cf. below to Psalm 27). In this
way, the composition is given to aspects of the motif structure as a
whole. This clearly is connected with an interest of confession, with the I
as recipient of the divine blessings connected to way and temple motifs.
On the other hand, the peculiar application of enemy motifs in v. 5
demonstrates the dependence on the given motif structure. Instead of
the normal connection with crisis and suffering, the function of this motif
group in this psalm is connected to dwelling in the temple, with the envy
of the enemies spicing the blessed meal. While such a motif application
can not directly reflect any cultic or real-life situation, it must express
the interest of the psalm as a whole and demonstrates the literary freedom of application. But also, the motif alludes to the connotations of the
traditional situation, the sweetness of the pastoral enhanced by the
despair and darkness of the associated frame. Against this background,
Psalms 42-43 are of special importance both as expressions of a
remarkable degree of literary creativity and as faithful reflections of the
traditional motif structure.
This understanding of the texts as expressions of given motifs connected with a basic point of interest could be taken one step further if
the texts are linked with categories of personal experience and development. The I of Psalms 23 and of 42-43 evidently are very differently
described in their relationship to the motif structure, especially within the
local categories as located somewhere in the sacred landscape.
Connected with the situation of the I in Psalm 36 under threat of some
negative movement towards the place of falling, the psalms obviously
3. Psalms 42-43: The Sacred Journey
101
reflect experiences of different stations of reality. The personal and
psychological categories of Psalms 42^3 suggest that these stations
also, perhaps even primarily, could refer to stages of inner development.
While the function and application of the texts remain uncertain, the
motif development of Psalms 42-43, connected with the basic events of
dwelling in Sheol, guidance on the way, and the ultimate arrival at the
temple, at the very least suggests categories of change. Especially, the
temple motifs hinting at some relationship of special intimacy with God
connected with dwelling in the temple could even relate this change to
personal transformation, connected with a special level of religious
attainment. On the other hand, Psalms 42 and 36 illustrate that these
categories of change and transformation also can be related to some
negative development.
b. The Motif Structure as Narrative in 1 Kings 19.1-18
(Exodus 33.18ff.) and Exodus 14 and 15
L 1 Kings 19 (Exodus 33.18ff.). A connection between the motif structure and 1 Kgs 19. Iff., seen together with the closely related Exod.
33.18ff.41 is the more interesting as these stories are understood as
critical comments upon traditional ideas of a special relationship to
Yahweh, usually connected with the theophanic vision in the temple.
According to this understanding, both the material and the compositional interest of these stories could be connected with the I-Psalms as
more traditional expressions of these themes.42 The critical reflection of
the two stories would be centred round the same situation which, in the
above analysed psalms, forms the concluding and decisive event of the
motif structure.
The compilation of motifs, especially in 1 Kgs 19.3ff., corresponds to
the basic motifs of the psalms, especially as expressed in Psalms 42-43.
41. Usually with the central elements of 1 Kgs 19 seen as dependent on
Exod. 33.18ff., e.g. Jeremias, Theophanie, pp. 112ff.; cf. also 1 Kgs 17-19 on Elijah
as 'ein zweiter und neuer Mose' with the Horeb-story as the original; G. Fohrer, Elia
(ATANT 53; Zurich: Zwingli Verlag, 1968), pp. 55ff.; G.W. Coats, Moses. Heroic
Man, Man of God (JSOTSup 57; Sheffield: JSOT Press, 1988), p. 206. On the other
hand, E. Aurelius, Der Fiirbitter Israels. Eine Studie zum Mosebild im Alien
Testament (CBOTS 27; Stockholm: Almqvist & Wiksell, 1988), p. 104 denies any
connection between the two texts.
42. Cf. concretely Eichhorn, Gott als Pels, p. 86 on the connection between
Pss. 27.5, 61.3 and Exod. 33.18ff.
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Between Sheol and Temple
The structure of the story is expressed in a series of situations related to
localities of a special character, with the development of the story related
to movement from one place to the other. The character of the localities
as well as the movement can be related to the corresponding motifs of
the I-psalms.
In contrast to the mountain of God, the first locality corresponds to
the negative place of Psalm 42. The prophet is located in the desert,
qualified by the broom motif. This can be related to the description of
the negative place of Ps. 120.4 and also Job 30.4 in a description of the
terrible land of the outcasts.43 Moreover, the place is also qualified by
death motifs, here in the form of the prophet in despair surrendering his
soul. This adds to the death motif of the biographical frame (vv. 1-3, cf.
in the prophet's complaint vv. lOb, 14b), with the prophet fleeing to
save his life. While the prophet clearly is in a state of despair similar to
the I of Psalm 42, the different applications of the death motifs together
with the parallel descriptions suggest that the expression of a state of
despair and personal crisis is linked to dwelling in a place of special
character.
The movement from the one place to the other is dependent here also
on divine intervention. While Ps. 43.3 refers to the divine substitutes of
'light' and 'truth', Yahweh is here represented by the Angel. The
journey's connection with miraculous categories is here expressed by a
meal which gives strength for the special effort (vv. 6-8, cf. the activities
of the divine shepherd of Psalm 23 connected with grazing and water
vv. l-3a). The repeated commands to 'stand up and eat', emphasized by
the prophet's lying down again (v. 6) stresses the divine initiative and the
passivity of the pilgrim. The journey is started and maintained from
above. In addition, the qualification of a walk of forty nights and days
adds to the special character of the journey to the mountain.
The mountain of God is clearly defined as a place of meeting for God
and man. It is the place of Yahweh manifesting himself in a special
way as 'passing' for somebody specially chosen to witness the divine
manifestation. The manifestation is related to some special place on the
43. The broom fixture could refer to given connotations. Its roots as food in
Job 30.4—with a function comparable to tears as food in Ps. 42.4—could correspond
to the connection of broom and miraculous meal in vv 5-6. Cf. also Gen. 21.14-19
and 16.5-14 reflecting a stereotyped motif compilation of (bush related to dying
21.15-16) thirst, water, seeing/being seen and miraculous intervention by the divine
messenger.
3. Psalms 42—43: The Sacred Journey
103
mountain 44 where the chosen is standing45 (vv. lla, 13a, cf. also
Exod. 33.21-22) to experience the divine 'passing'. The mountain is the
place both for some special type of divine presence and for some special
relationship to this presence.
The negations of the traditional experience of the theophany in the
two stories (vv. 11-12, 13; Exod. 33.20, 22-23), in addition to the positive expressions for the chosen witness as experiencing the divine presence (v. 13; Exod. 33.23), stress the category of 'sensory' experience
for this kind of event. The emphasis on the eyes as 'covered' by the
prophet's veil or the divine hand qualifies the traditional experience as
being primarily connected with seeing. The deliberate reflection and
critical examination of traditional beliefs which characterize the two
stories make the theophanic descriptions the more interesting with
regard to the stereotyped temple motifs of the psalms analysed above.
Obviously, the motifs of dwelling in the temple must refer to very special
states of relationship to and experience of the divine presence. Close
encounters of this kind, qualified by such motifs of experience and
moreover related as the sublime experience of such elevated persons as
Moses and Elijah (cf. also the traditional version in Isa. 6. Iff.), clearly
cannot refer to ordinary events. In this way, these stories have repercussions on our understanding of the psalms in question. The reality they
reflect must refer to the sublime experience of the very few.46
In 1 Kings 19 the sacred journey is connected to the motif of the
evil enemies (vv. 1-3, 10, 14). Here, the enemy motifs are not directly
44. According to Eichhorn, Gott als Pels, p. 86 this reflects Zion traditions of the
holy rock 'unter dem Debir des Tempels', standing upon which cultic servants could
see the divine face, while Jeremias, Theophanie, pp. 107, 112 stresses the literary
dependence on Exod. 33.18ff.
45. M.R. Hauge, 'On the Sacred Spot. The Concept of the Proper Localization
before God', SJOT 1 (1990), pp. 30ff.
46. Cf. Eichhorn, Gott als Pels, pp. 85ff., where the understanding of the exceptional character of these phenomena is connected to categories of profession. The
theophanic experience is limited to cultic servants (p. 85), 'vermutlich wohl levititische
Tempelsanger und Kultpropheten' 'die ihr Amt als Mittleramt in der Tradition des
Mose verstehen' (p. 87). This curtailment to a certain profession is rather uncertain
with regard to the poetic material, and also ignores the special character of
Exod. 33.18ff. (cf. the transition from vv. 17 to 18 as a classical crux, B.S. Childs,
Exodus. A Critical, Theological Commentary [OTL; Philadelphia: Westminster
Press, 1974], pp. 595ff.). But on the other hand, it is a concrete illustration of the
extraordinary character of the experiences in question.
104
Between Sheol and Temple
connected with the way and temple motifs, but form the background for
the prophet's flight into the desert. Within the frame of the biographical
introduction in vv. 1-3 and the application of the traditions in vv. 19ff.,
the events in the desert are of special character.47 Separate from the
events of everyday life, the journey from a place of despair and death to
the mountain of God takes place in some special landscape of miraculous
manifestations.
Within the present composition of Exodus 33-34, the separation from
normal reality is connected with motifs of ascent and descent related
to the mountain. With relationship to God meticulously connected to
categories of locality relative to the mountain,48 the description of the
descent of Moses and the reaction of the people in Exod. 34.29ff.
reflects the experience as something outside normal reality. But on the
other hand, the enemy motifs of 1 Kings 19 lay particular stress on the
material connection between normal biographical reality and the events
on the mountain of God (vv. lOb, 14b and especially vv. 15-18).
This can be related to our discussion on the character of the language
of the I-Psalms. The texts express a special religious meta-language of
ideological character, with reality defined by man located to a mythical
landscape. On the other hand, the religious description seems to reflect
personal experience. Especially for the latter aspect, the Moses and
Elijah stories are important. As applied to these figures of attainment,
the language describes events of 'real' character, not only referring to
an ideological level of religious interpretation, but to a level of personal
experience.
The literal aspects of the motif structure as the vehicle of some personal experience of extraordinary character might even, tentatively, be
related to ideas of different levels of religious reality. This could
be reflected by the formal structure of vv. 4ff. Within the present
composition, the prophet is related to the divine reality as a peculiar
combination of angel (vv. 5, 7), word of Yahweh (v. 9) and the special
47. The special character of the motif development of the 'desert events' could
also be related to traditio- or redactio-historical categories, for example, Jeremias,
Theophanie, p. 65 on vv. l-3a as 'iiberlieferungsgeschichtlich sekundaren Verse'. To
Fohrer, Elia,pp. 38ff., vv. 3b-18 reflect an originally independent story 'sehr
geschickt' connected to other stories. The present combination with its peculiar
change from triumph in ch. 18 to despondency in 19 is explained as due to a special
Hebrew psychology of emotional versatility (p. 20).
48. Hauge, 'On the Sacred Spot', pp. 46ff.
3. Psalms 42^3: The Sacred Journey
105
manifestation as 'the fine-grained stillness'. The parallelism of vv. 9b-10
and 13b-1449 suggests the 'word' to be seen as an independent
manifestation, as recipient of the prophet's complaint and as preparing
the prophet for the ultimate manifestation. The parallel relationship
between three different types of divine manifestation is stressed by the
composition.
In the three cases, preceded by narrative sentences on the prophet's
acts, the manifestation is presented by an introductory hinne, followed
by a nominal sentence relating the manifestation to the prophet, followed
by the narrative 'he said' introducing a message centred round imperative forms (vv. 5b, 9bff., 13bff., in the two last cases introduced by a
question and the prophet's complaint). In addition, the last manifestation
is introduced by a participle construction introduced by hinne (v. 11),
giving special emphasis to the concluding event.
This composition both stresses the parallel relationship of the three
manifestations as representing the extraordinary, and at the same time
suggests a hierarchical order of closeness relative to Yahweh. This order
is also connected to local categories, with the prophet differently located
under the broom, in the cave, and finally 'going out and standing' 'on
the mountain'/'at the opening of the cave'.
The hierarchical order of divine manifestation—with a corresponding
hierarchy of localities—could be related to the fundamental separation in
the I-psalms, the religious reality connected with a being 'outside' and
'inside' the temple. Especially as presented in Psalms 42-43, the temple
motifs are used for a special relationship to God. But the I as located in
Sheol and described by motifs of way is also related to God. At the
same time, the three 'stations of reality' are differently qualified.
In this way, the basic motifs of the story of 1 Kings 19 correspond to
the motif structure of the I-psalms, with a specially close relationship to
the motif elaboration of Psalms 42-43 centred round the contrast localities and the concept of a sacred journey. This composition, together with
that of Exodus 33, is characterized by its combination of typicality and
singularity; on the one hand a compilation of stereotyped motifs in a
given structure, on the other hand demonstrating a vividly individual
motif elaboration. And also in this case, the execution of the motif structure is characterized by a certain point of interest which is seen in the
49. According to Fohrer, Elia, p. 21, vv. 9b-l laa is added as an dogmatic effort to
reduce the effect of the theophany description (cf. also pp. 38-39 on the tendency to
elaborate the miraculous motifs by repetition).
106
Between Sheol and Temple
emphasis on a certain motif set. Above all, however, the applications
illustrate the significance of the motif structure as contained in the Ipsalms. For our understanding of the psalms, it must be important that
the two texts apply the motif structure as a structure of events connected
to biographical experience, and that the central event of this biographical
experience is concentrated on the ecstatic experience on the 'mountain'.
The two stories of Exodus 33 and 1 Kings 19 demonstrate that the motif
structure reflects a history of transmission and interpretation, also
including critical examination of its material significance. Whatever the
age of the psalms in question, it is reasonable to suppose that these
psalms represent the traditional application of the motif structure. This
not only adds to the venerability of the motif structure of the psalms in
question as 'old', but also to its material significance as the suitable literary vehicle to express the sublime experiences of such singular figures
as Moses and Elijah.
Such figures as the embodiments of the I-role of the motif structure
also add to our understanding of the relevant psalms. Obviously, these
texts must reflect personal experiences of heights and depths comparable
to those of 1 Kings 19 and Exodus 33. Moreover, if this is relevant for
the texts in question, it must also be relevant for a milieu of literary
creativity and transmission and application, connected with some type
of religious practice centred round the ecstatic experience of sensory
character related to the divine presence.
Also, these texts considerably widen the scope of literary application
of the motif structure. The mountain of God traditions, relating to Moses,
reflect an immense body of material. And further, this relationship opens
up the possibility of relating the grand story of Egypt, wilderness and
land traditions to the basic motif sets of the I-psalms.
The dramatic changes in Pentateuchal criticism which have taken
place during the last decades invite new questions on the coherency of
the composition of the complex traditions. More or less disassociated
from the traditional categories of historicity,50 the understanding of this
composition is linked to literary categories. In recent studies, the rather
loose and anecdotal character of the final composition has been
stressed.51 Thus, to Van Seters and Whybray, the composition reflects a
50. E.g. T.L. Thompson, The Historicity of the Patriarchal Narratives: The
Quest for the Historical Abraham (BZAW 133; Berlin: de Gruyter, 1974), pp. 11-40,
194ff.; Lemche, The Canaanites, pp. 151-52.
51. Aside from the significance of R. Alter, The Art of Biblical Narrative (New
3. Psalms 42^3: The Sacred Journey
107
compilation of traditions by an author employing literary techniques
comparable to those of Herodotus; to Whybray a considerable and
unidentifiable part of the materials represent literary fiction.52 In
examining the given traditions, Thompson finds 'blocks of narrative',
described as five or six 'traditional complex chain narratives' compiled
into 'a unifying historiography' resulting from 'a very late editorial
work whose ideological centre is probably to be found in the prophetic
reforms some time close to the reign of Josiah' ,53
The emphasis on the editorial looseness of the composition is understandable as a reaction to traditional Pentateuchal criticism, especially as
the observation of these phenomena forms the basis for the gradual dissolution of the documentary hypotheses.54 On the other hand, the compilation of diverse materials, within one literary frame and with obvious
ideological significance, invites investigation into questions of coherency
for literary materials which to modern readers' notions of thematic logicality seem rather haphazardly put together. In this respect, the present
uncertainty with regard to materials of such theological significance
represents an exciting challenge for new models of understanding.55
Against this background, the motif structure of the I-psalms might
represent an interesting possibility as a formative structure in the present
composition of the Pentateuch traditions. The ideological significance of
the basic motifs, together with the combination of basic stereotypes and
freedom of individual expression which characterizes their literary
application, would make them suitable also as focal points for a vast
agglomeration of diverse traditions. The significance of biography as the
York: Basic Books, 1981), cf. concretely J. Van Seters, In Search of History.
Historiography in the Ancient World and the Origins of Biblical History (New
Haven: Yale University Press, 1983) and especially Whybray, The Making of the
Pentateuch, pp. 232ff.
52. Whybray, The Making of the Pentateuch, pp. 238ff., with the book of Job for
a parallel to the compositional frame of the Patriarchal narratives.
53. T.L. Thompson, The Origin Tradition of Ancient Israel. I. The Literary
Formation of Genesis and Exodus 1-23 (JSOTSup 55; Sheffield: JSOT Press,
1987), p. 156.
54. R. Rendtorff, Das iiberlieferungsgeschichtliche Problem des Pentateuch
(BZAW 147; Berlin: de Gruyter, 1977).
55. E.g. the different types of approach by Clines, The Theme of the Pentateuch;
G.W. Coats, 'A Structural Transition in Exodus', VT 22 (1972), pp. 129-42,
M.R. Hauge The Struggles of the Blessed in Estrangement', 5729 (1975), pp. 1-30,
113-46.
108
Between Sheol and Temple
compositional frame for the compilation and formal coherence of the
Pentateuch materials would correspond to the biographical interest of
the I-psalms.
ii. Exodus 25. A possible connection between the motif structure of the
I-psalms and the Pentateuch traditions can be illustrated by Exod. 15.121. Verses lb-18 consist of a pattern of more general hymnic elements:
Iba; 2 (in the first person); 3; 6-7; 11; and 18. These are immediately
connected with narrative elements: Ib6; 4-5; 8-10; 12-17. While vv. 6-17
are addressed to Yahweh, the introductory and concluding third-person
forms on Yahweh (vv. 1-5, 18) frame the poem.
A satisfactory label for the genre is hard to come by. The first-person
forms in vv. lb-2 reflect elements of thanksgiving in the I-form. The
narrative forms, especially as related to the situation described vv. 19ff.,
could suggest that the poem is influenced by the genre of thanksgiving.56
Within the narrative forms, the divine acts are related to the enemies
(vv. IbB; 4-5; 8-10; 12, cf. also in the hymnic elements vv. 3; 6-7) and to
the people (vv. 12-17, with the reaction of the peoples 14-16a subordinate to the events of vv. 13 and 16b).57 The two groups of human
actors are related to Yahweh by contrast qualifications. The relative
clauses in vv. 13a and in 16b6 qualify the positive group as the people
'redeemed' and 'acquired' by Yahweh, in addition to the element 'your
people' in v. 16boc. And due to the pattern of hymnic and narrative
elements, the negative group is qualified as representative of 'the
enemy' and 'your adversaries' of vv. 6-7.
Given this background, the motif sets which describe the divine intervention are interesting. Related to the people, the divine act of grace is
seen as guidance into the temple, qualified as 'your holy abode' (v. 13)
and as 'the mountain of your inheritance', 'the site you made for your
dwelling', 'the sanctuary your hands established' (v. 17).
This corresponds to the divine intervention of, for example, Ps. 43.3-4.
56. Cf. especially the discussion of Criisemann, Hymnus und Danklied, pp. 19Iff.
Disregarding the third-person narrative elements of vv. 4-5, he finds the second
person elements in the 'Hauptteil' (vv. 6-17) as 'Jahwe-anredende Bericht-stil' to
qualify the poem as a hymn. Both the genres of collective Thanksgiving and also
Victory song (pp. 206ff.) are refused as expressions for 'einer festen Gaining'.
57. On the suggestions of parallelism between the two descriptions of the enemies
and the peoples cf. Childs, Exodus, p. 252.
3. Psalms 42-43: The Sacred Journey
109
The sentence construction of v. 17 with an introductory bo hiph followed
by three parallel qualifications of the place of destination as 'mountain',
'site' and 'sanctuary' can be compared to Ps. 43.3b, 4. Whatever the literary relationship between the two texts, the parallel conclusion with its
suggestions of heightened intensity and climax58 adds to the significance
of dwelling in the temple. The sacred journey has the temple for goal,
with relationship to the locality qualified as relationship to the divine
presence. In Exod. 15.17 this aspect is added to by the motif of planting
parallel to the motif of guidance. Corresponding to the application of
tree motifs in Pss. 52.10-11 and 92.13ff., dwelling in the temple is
qualified as lasting 'for ever'.
Corresponding to aspects of the contrast locality in Psalm 42, the divine
intervention in its negative mode consists in the enemies as lastingly
related to the deep. The different motifs of Yahweh's negative acts in the
hymnic vv. 6-7 and especially the narrative v. 1259 suggests that the
sea/deep here primarily functions with the connotations of Sheol/death.60
In this way, the basic motifs of Exod. 15. Iff. correspond to the sacred
world of Psalms 42-43, with a negative fate/place of death contrasted to
dwelling in the temple with a relationship to the divine presence. The
deep is the place of retribution, while dwelling in the temple is attained
through divine guidance. The motifs define the plus group as passive,
helpless with regard to the enemies, dependent on divine grace.
The main differences can be related to the two texts as reflections of
different events of the motif structure, the I of 42-43 praying for the
divine intervention which in Exodus 15 has taken place. Another difference is connected with the relationship of the positive group to the negative locality. In Psalm 42 the I in the act of praying is located in the
58. Such suggestions of climax can also be illustrated by Mowinckel's assertion
that v. 17 together with v. 18 reflect the culmination of the enthronement festival myth
with the foundation of the temple and the Enthronement of Yahweh, Psalms I, p. 126.
59. According to Criisemann, Hymnus und Danklied, p. 193, v. 12 cannot refer
to the destruction of the Egyptians as a 'vollig singulares Verstandnis dieses
Geschehens', but must as a part of the assumed subunit vv. 11-17 refer to later events
as e.g. Num. 16.
60. The amazing freedom of application of the motifs of the 'sea tradition', with
the corresponding difficulty of fixing any original or historically more reasonable
version (e.g. the examples by G.W. Coats, 'History and Theology in the Sea
Tradition', ST29 [1975], pp. 53ff. and also B.S. Childs, 'A Traditio-historical Study
of the Reed Sea Tradition', VT20 [1970], pp. 406-407) could be explained as due to a
special connotative background, the richness of which amply demonstrated by Ps. 42.
110
Between Sheol and Temple
deep, while only the enemies in Exodus 15 are directly related to the
negative place. While v. 8 is usually understood to allude to Israel in the
midst of the sea, it is primarily the literary frame of v. la connecting to
14.30-31 and vv. 19-21, which directly locate Israel in crisis and the
divine intervention to the deep, with way and guidance motifs immediately connected to the negative place. Through this redactional 'adding'
to the situation of crisis described in the poem, the application of the
basic motifs corresponds closely to Psalms 42-43; by a miraculous
intervention Israel is led on the way from the deep to the temple.
The relationship of Exod. 15. lb-18 to the frame of vv. la and especially
19-21, and thus to ch. 14, makes an interesting and much-discussed
traditio-historical and redactio-historical problem. The present redactional
frame connects the Song of the Sea and ch. 14 as literary expressions
for the one event. At the same time, the two texts are markedly different
and the differences not immediately reducible to the stylistic characteristics inherent to narrative and poetry.61 If the differences should be
related to traditio-historical categories, the Song of the Sea must be seen
as the expression of a special development of tradition.62
Conversely, the character of the discussion could demonstrate that
traditio-historical considerations are used too sweepingly to give answers
to complex problems which should involve other types of methodological approach. Thus, important aspects of the problems of the connection between chs. 14 and 15 could be related to the two versions as
61. To Thompson, The Origin Tradition, pp. 146ff. the song is a poetic version
of the narrative, reflecting both the 'base narrative' and the redactional expansion of
ch. 14, the song relatively late in the development of the Exodus tradition. The special
character of vv. 12-18 is due to the events interpreted 'in the theological terms of
salvation history' within the historiographical framework of the Pentateuch. Also for
the song of Miriam, often thought of as a surviving fragment of an earliest form of
tradition, the narrative context of ch. 14 form 'the original SitzimLeben' (pp. 147-48).
62. As, for example, a parallel development of a common tradition or originally an
independent tradition secondarily related to dominant traditions, cf. on the one hand
Childs, The Reed Sea Tradition', p. 412 on a 'common tradition being shared by the
early prose account of J and the early poetic tradition of Ex.xv'; on the other hand
Coats, Moses, pp. 114ff. who separates between Moses traditions and wilderness
traditions with occasions of salvation without reference to any contribution from
Moses, and finds nothing of the Moses tradition in the Song of Miriam or the Song
of the Sea (cf. The Traditio-historical Character of the Reed Sea Motif, VT 17
(1967), pp. 253-65.
3. Psalms 42-43: The Sacred Journey
111
parallel applications of the given motif structure represented by, for
example, Psalms 42-43.
Some of the difference could reflect the one application as narrative,
the other as a psalm of praise and thanksgiving. In addition, the two
versions are centred round different parts of the motif structure. The
Song of the Sea is the more immediate application of the structure as a
whole, with the literary present connected to the decisive divine intervention as it happened and as it is reflected in the human response of
thanksgiving. The narrative is centred round the introductory events of
the motif structure, with the divine intervention related to the enemy
crisis. The motifs which describe the human actors are related to the
enemy situation, given to reactions of fear and despondency connected
with the salvation oracle63 and contrasted with the figure of Moses as
the paradigmatic confessor, and concluded with the experience of the
crisis as overcome.
Given this background it is interesting that motifs of way and divine
guidance link the two applications. In ch. 14 the way leads through,
implicitly 'from', the deep; in ch. 15 to the temple. Usually related to
traditio-historical categories for the exact fixation of the original setting
of tradition,64 the way motifs could link Exodus 14 and 15 as expressions of one motif structure, similarly to the motif exposition of Psalms
42^43 which implies a sacred journey taking the I from Sheol to temple.
In this respect, the two versions of chs. 14 and 15 are significant for
the understanding of the motif expositions in the I-psalms. Especially in
Psalms 36 and 140, the crisis of the I can be referred to two motif sets.
The crisis is due to the threat of the enemies as the mortal foes, or can
be related to gaining entrance into the temple inferred as the ultimate
goal. The prayers relate the divine intervention to the enemy crisis. In
Psalm 84, the motif execution stresses the importance of the temple
motifs. This is also the case for Psalm 42 seen for itself, while 43 combines the two aspects as parallel manifestations of the divine intervention.
And in 1 Kings 19 the motif structure is concentrated on the 'temple'
63. E.W. Conrad, Fear Not Warrior: A Study of 'al lira' Perlcopes in the
Hebrew Scriptures (Brown Judaic Studies 75; Chico, CA: Scholars Press, 1985);
Coats, Moses, pp. 117ff. and also below to Ps. 27, in addition to the different aspects
of the experience of the crisis in the other I-psalms.
64. While the Jordan crossing earlier was thought to reflect the sea crossing, the
ranking of the traditions has been reversed, Coats, 'The Reed Sea Motif, pp. 259ff.,
Childs, 'The Reed Sea Tradition', pp. 414-15.
112
Between Sheol and Temple
motifs, the enemy motifs kept apart as the biographical background to
the exposition of the sacred story. The applications of Exodus 14 and 15
as two parallel versions of the same event—with motifs of the way as
the common denominator—illustrate that the enemy crisis and the
'admittance to the temple'-crisis, while aspects of the same story, can be
independently developed. Within the present literary frame they are presented as introductory and concluding events of the one story.65 Also,
the parallel versions demonstrate the literary and religious applicability of
the motifs, the first version connecting the miracle to human reactions of
despondency and faith corresponding to the dialogue of Psalms 42-43,
the second to a situation of praise and confession.
Such a background could illustrate the redactional importance of chs.
14 and 15 for the literary development of the 'Egypt', 'wilderness' and
'conquest' traditions. While immediately connected to the context and
usually understood to form some kind of climax with regard to the preceding chapters,66 the sea traditions stand out with a character of their
own, forming a traditio-historical puzzle.67 Their special character combined with the contextual connection could reflect some special function
with regard to the rest of the materials. Given the materials of the
Pentateuch as originally disparate traditions, the redactional function of
Exodus 14-15 could be important. In the present location, chs. 14-15
could provide a concrete linkage between two types of tradition
connected with Egypt and wilderness.68 Chapter 14 is an immediate
continuation of the themes in the preceding chapters, centred on the
enmity of the Egyptians and the divine retribution as the final plague
destroying Pharaoh himself and setting Israel totally free. In this way,
chs. 14-15 forms the climax of the literary development of chs. 1-13.
65. Cf. also the enemy motifs as 'split' between the mortal foes left in death in
chs. 14, 15. Iff. and the terror-stricken witnesses to the triumphant passing of the
people, 15.14ff. This can be compared to the motif execution of Ps. 23: while v. 4
alludes to the way leading through death, the enemy motif is reserved for the situation
of dwelling in the temple, the enemies the witnesses to the triumph of the I.
66. E.g. O. Kaiser, Die mythische Bedeutung des Meeres in Agypten, Ugarit und
Israel (BZAW 78; Berlin: Topelmann, 1959), p. 156; G. Fohrer, Uberlieferung und
Geschichte des Exodus (BZAW 91; Berlin: Topelmann, 1964), pp. 97ff.
67. E.g. M. Noth, Das zweite Buck Mose. Exodus (ATD 5; Gottingen:
Vandenhoeck & Ruprecht, 1959), p. 82 on 13.17-14.31 as both a 'Nachspiel' and as
'Hohepunkt' in the context.
68. Cf. Coats, The Reed Sea Motif, pp. 262ff. on the redactional significance of
ch. 15, developed further by Childs, The Reed Sea Tradition', pp. 416ff.
3. Psalms 42-43: The Sacred Journey
113
Chapter 15 continues this interest with the Song as the human response
to the miraculous events of Exodus, providing a pause in the narrative
development of events. On the other hand, the divine intervention understood as guidance related to the ultimate goal of conquest, introduces the
main themes of the following exposition as events within one story
started in Egypt and ended with the conquest of the land.
A redactional function of this kind would also be linked with the character of the motif structure. Applied in the I-psalms, the motif structure
seems to have an ideological, interpretative function, providing a pattern
for the religious definition of humanity. In the exposition in Psalms 4243, man related to God is a being related to the localities of Sheol and
Temple linked by the concept of the way. The relationship to the
enemies is the central motif connecting the I to Sheol, while the divine
intervention represents the sole possibility of salvation from the enemies
and dwelling in the temple.
The motif exposition of the Song of the Sea seems a striking parallel
to this version of the motif structure. Here the wilderness- and conquesttraditions are interpreted as parts of a sacred journey under divine guidance from Egypt/sea/Sheol to Cana'an, with stay in the land of Cana'an
interpreted in the categories of dwelling in the temple. But the application could also have a similar interpretative function with regard to the
preceding events. With the connotations of the motifs, the events of the
sea form a parallel to the events of ch. 12.69 The first-born of Egypt
killed by the terrible divine intervention in the Paschal night—especially
as prepared by 1.15ff.—has the same connotations of meaning as the sea
miracle, the latter however extending the scope to include Pharaoh and
all the Egyptians contrasted with all of Israel confined to Sheol.
On the other hand, this interpretative frame provided by chs. 14-15
would also considerably broaden the significance of the Exoduswilderness-conquest traditions. Interpreted as one story of divine guidance
bringing Israel from Egypt/Sheol to the temple, the story would have
the general connotations of the motif structure, as an application parallel
to and with religious implications comparable to, for example, the story
of the I in Psalms 42^3.
69. Cf. also D. McCarthy, 'Plagues and Sea of Reeds: Exodus 5-14', JBL 85
(1966), pp. 137-58; and especially J. Pedersen, Israel, Its Life and Culture III-IV
(London: Oxford University Press, 1940), pp. 728-37 on the events of the Paschal
night and of the sea as parallel expressions for Israel's victory over the enemies of the
one cultic legend of Passover.
114
Between Sheol and Temple
The Song of the Sea, in isolation, could rather directly reflect such an
interpretation with its implications of a given religious pattern overlaying
existing traditions. In its present form, isolated from the frame of vv. la
and 19-21, it could be disassociated from the present historiographical
context and regarded as a very general application of the pure motif
structure, as a collective version closely parallel to the I-version of
Psalms 42-43 and also 1 Kgs 19.4ff. With this character, the present
composition set in the frame of vv. la and 19ff. can be compared to,
for example, Psalm 114 with a setting given by the historiographical
commentary vv. 1-2 and 77.14ff. by v. 21. Compared to, for example,
Pss. 76.6ff.70 and 66.10ff., and for that matter to Pss. 46 and 42.8, it is
primarily the historiographical notes which define the one version of
divine intervention as reflection of Exodus and the other as not. As to
meaning, the connection with Exodus, Jordan, Zion or I motifs would
ultimately refer to the same sets of connotations.
Such a connection could also be linked to the first-person forms
15.1b-2, which are formally peculiar within a composition where the
objects of divine salvation are described in third-person forms.71
According to the historiographical frame, the T refers to ' Moses and
the sons of Israel'. Related to the I-psalms, this compilation of I-forms
and third-person descriptions can be compared to the pattern of I-forms
and third-person statements in, for example, Psalms 36, 84 and 140. In
the psalms, the statements express religious truths being professed by
the I as applicable to his own fate. Such a connection could also be
reflected by the present composition of Exodus 15. Either from an
original text being cited or composed by 'Ex',72 the I-forms suggest that
the Exodus events also could be connected to a personal confession.
And with the Exodus events representing one type of application of the
motif structure, parallel to those of the I-psalms and closely related as to
religious significance, such a connection would be rather natural.
Especially with regard to function, connected to the intended use of the
story, the I-forms would express an invitation to the listeners to identify
70. Cf. Jeremias, Theophanie, pp. 160-61, 139ff. on these texts as expressions for
'die Gattung der Theophanieschilderungen'.
71. Cf. Criisemann, Hymnus und Danklied, p. 193, who ignores vv. lb-5 as
significant for the understanding of the formal character of the poem defined by its
'Hauptteil', vv. 6-17.
72. G.A.F. Knight, Theology as Narration. A Commentary on the Book of
Exodus (Edinburgh: Handsel Press, 1976), p. XI.
3. Psalms 42-43: The Sacred Journey
115
with the sacred story as expression of the 'I-story'.73
Thus, the present composition of I-forms and third-person statements
can be compared to the use of the Exodus motifs in Psalms 77 and 66.
In 77.12ff. the Exodus events are confessed in a lament in I-form. And
in 66.10-12, which are connected through the we-forms with v. 6, the
Exodus events are transcribed into a more generalized version of God's
typical dealings with 'us'. In vv. 13ff., this version of the Exodus/westory is linked with forms of thanksgiving, thus suggesting an immediate
connection between the narrative elements of I-story and the response of
praise and the preceding collective story of divine intervention. In this
way, the two psalms suggests that the I both in crisis and in triumph can
identify his own fate with the collective story of Exodus. Usually, the
connection has been thought to reflect late compositions mixing traditional genres,74 or that the I in these psalms is a corporate personality,
representing the collective.75 But it could also—especially when related
to the general problem of collective/individual categories in I-psalms76—
be the result of the fundamental connotative connection between different versions of a common motif structure.
With Exodus 14-15 seen as an expression of a given motif structure,
the scope of possible actualizations for the I-figure in the Psalms has been
considerably widened. Moses and Elijah as representatives for the figure
demonstrate its applicability as an expression for personal experience
and exalted religious states. This can be related to special motif sets and
also to the expressions of intense personal, emotional involvement of the
I-psalms. The connection between 1 Kgs 19.3ff. with Exod. 32.18ff. and
the I-psalms is the more significant as the narratives not only are orientated towards isolated biographical experiences of exalted figures, but
relate the concrete biographical experience to a given tradition of
ecstatic experience.
But Exodus 14-15 demonstrates that mere ordinary mortals can also
represent the positive figure of the sacred story. In ch. 14, this role is
split between Moses as the paradigmatic confessor and the very unheroic
73. Cf. also—from a different view-point—Brueggemann, 'A Response to "The
Song of Miriam" by Bernhard Anderson', in E.R. Follis (ed.), Directions in Biblical
Hebrew Poetry (JSOTSup 40; Sheffield: JSOT Press, 1987), pp. 298ff.
74. E.g. Kraus, Psalmen, p. 456 on Ps. 66, p. 530 on Ps. 77.
75. Esp. Mowinckel, Salmeboken, pp. 140-41, 164-65 and generally Psalms I,
pp. 42ff.
76. E.g. Mowinckel, Psalms /, pp. 42-80.
116
Between Sheol and Temple
'sons of Israel'. The constellation of the admonishing Moses and the
murmuring people in 14.1 Iff. can even be compared to the actor of
Psalms 42-43 split into an admonishing I and the downcast soul. In the
psalm, this constellation could reflect ideas of religious development and
inner change, connected with situations of crisis and suffering. This
aspect could be relevant for the execution of the motif structure in
ch. 14, as well as for the following exposition of the wilderness themes,
with both Moses and the 'sons of Israel' as paradigmatic examples for
later generations relating to the story of the Exodus.77
In this way, Exodus 14-15 together with 1 Kings 19 and Exod. 33.18ff.
could illustrate important aspects of the motif usage. The interpretative
function seems rather obvious, with the motif structure as an ideological
frame of religious meaning. Exodus 14-15, in particular, could illustrate
such a function, with a set of ideological motifs related to given traditions. But also the two stories of the 'beatific vision'—especially the
story of 1 Kings 19 read in this context—reflect that the motif structure
refers to a special level of reality,78 not identical with the level of normal
experiences in every-day life. Thus, these stories can immediately be
added to the impression of the ideological function of the motif structure
in Psalms 36, 84 , and 140.
But on the other hand, these stories also illustrate that the ideological
level of reality refers to very concrete sensory experience. The events
from Israel's past and the experiences of Moses and Elijah demonstrate
that certain events with specific actors are presented as expositions of
the sacred story. Moreover, the special interest of 1 Kings 19 and
Exod. 33.18ff. demonstrates that Elijah and Moses embody the mythical
role not as ideological entities, but as representatives of normal humanity.
Also the number of singular I-psalms can be seen in this connection as
expressions of the motif structure constantly related to new, concrete
experience.
In addition, the examples above, referring to the use of the Exodusevents, illustrate a third type of application of the ideological pattern. In
Psalms 66 and 77, an individual I is related to the collective story of the
past with that past being relevant for his own fate. This relationship is
especially close in Psalm 77, where the collective experience is confessed
77. Cf. Coats, Moses, pp. 109-24
78. Posing the same problems of interpretation as the motifs of the I-psalms, cf.
Fohrer, Elia, pp. 67-68 with the story valued as 'bildhafte Ausdruck fur theologische
Aussagen' with the concrete materials as a 'Mose-parallelle'.
3. Psalms 42^3: The Sacred Journey
117
in the I-story. The very fact of the literary exposition of the Exodus traditions could also be connected to this type of application, with future
generations related to the paradigmatic experiences of Moses and the
children of Israel.
These seemingly very different types of application—further complicated if we pay attention to questions of cultic/personal application—
make it difficult to find a single formula for the definition of the function
of the motif structure. At least some aspects of the riddle might be connected to the stories of 1 Kings 19 and Exod. 33.18ff. related to their
traditional background. These stories put a special emphasis on the
ecstatic79 or mystical experience as central for the motif structure and,
moreover, connect this experience to a certain tradition. This suggests
some milieu of religious practice centred round such experiences as a
possible setting for the development of a religious language of this kind.
A milieu of such characteristics could even be connected to the
prophetic tradition—especially when linked to ideas of institutions of
cultic prophecy.80 On the other hand, the I-psalms seem to represent the
traditional expressions of the motif structure. So far, nothing in these
psalms seems to refer to specific categories which would necessitate a
label of 'prophetic experience'. The I is qualified as the confessor in
crisis, the divine intervention as deliverance from the crisis. And the
crisis is linked to a goal of special communion with God in the temple,
connected with motifs of praise and of the relationship to God and
temple. Such a situation could very well have been part of the normal
prophetic experience (Isa. 6.1-4). But motifs of a connection with a professional crisis of failing revelation, the I beseeching Yahweh for a good
message to communicate to a suffering people,81 cannot be found.
Labels such as ecstatic or mystical are relevant to emphasize the
extraordinary character of the experience. But compared to a situation
of prophetic reception of oracles and the literary forms where such a
reception is described, the motifs of the I-psalms refer to a more general
situation of intimate communion with Yahweh in the temple. Thus, while
it would be rather high-handed to exclude prophets and for that matter
79. That is, categories especially relevant for Eichhorn, Gott ah Pels, cf. the
following notes.
80. Aside from Eichhorn, Gott als Pels, p. 87, cf. especially Mowinckel, Psalms II,
pp. 55ff., 92ff. on the direct connection between the institutions of cult prophecy and
temple singers.
81. Eichhorn, Gott als Pels, pp. 123ff.
118
Between Sheol and Temple
other cultic servants82 from the experience of such a sacred communion
the I-story should not be confined to the traditional categories of ritual
function.
Moreover, in Exodus 14-15 and 2 Kings 20/Isaiah 38, 'the sons of
Israel' and a very human king are presented as actualizations of the Ifigure. This suggests that the motif structure as a vehicle of religious
interpretation is applicable to a wide range of human experience. While
the usual applications of the motif structure primarily would reflect the
experiences of some religious elite, the character of these experiences
and the aspirations of the elite must have been common also to more
humble people.
The rich possibilities of application must be connected to the type of
religious practice which is involved. Even as connected to a religious
interest of ecstatic experience, the motif structure of the language describing this experience demonstrates that the extraordinary happenings
of dwelling in the temple—as well as the preparatory events—have been
connected to some events, of a nature to be expressed in a series of
literary stereotypes as the dogmatically given paradigm; to be repeated
as confessed and reactualized or as re-applied for theological description
and equally relevant for the elite few as the many. Some relationship to
normal ritual language and practice could, at least partly, explain the
traditional character of this language.
Seen together, the types of application illustrated by the texts of this
chapter have important implications for our understanding of the language of the I-psalms. Dependent on the type of application, the textual
T can as well be related to an interpretative frame of ideological, of
biographical and of paradigmatic categories.
82. Cf. von Rad, '"Gerechtigkeit" und "Leben"', pp. 239-40 suggesting an
'inneren Kreis von Riten, Weihen und Erlebnissen' reserved for special cult servants.
Chapter 4
PSALMS 27 AND 26: THE I AS ACTUALIZATION OF THE PARADIGM
I . Psalm 27
a. The Psalm as a Whole
In the analysis of Psalm 27, the traditional models of understanding have
been related to the impression of the text as consisting of different
genres.1 When some kind of original connection for vv. 1-6 and 7-14 has
been found, the unity is usually2 sought from the supposition of the text
as reflecting a given cultic situation.
Thus, dominated by expressions of confidence and by prayers connected with enemy motifs, the psalm could reflect the king under threat
of war, seeking protection through rites connected with the genre of
psalms of protection.3 With a royal I, the psalm could also be related to a
series of succeeding events within a ritual of enthronement or renewal of
kingship.4
1. Cf. Taylor, Psalms, p. 144 and Delekat, Asylie, pp. 103, 197 on 1-6 and 7-14
as originally independent units.
2. On the other hand, Dahood, Psalms I, pp. 166-67 stresses the literary integrity
of the composition as a 'psalm of confidence' related to this life and the next, while
Rogerson and McKay, Psalms 1-50, p. 122 find the formal structure to correspond to
Ps. 22, but with reversed order of supplication and confidence. Verse 14 represents a
priestly word of encouragement or the psalmist exhorting himself (p. 125).
3. Birkeland, Die Feinde,p. 186; Mowinckel, The Psalms I, pp. 219-20;
J.H. Eaton, Kingship and the Psalms (Sheffield: JSOT Press, 1986), p. 39. Here,
v. 14 naturally represents the responding oracle or cultic encouragement (or also the
king's encouragement to Israel, Eaton, Kingship, p. 39).
4. To Ridderbos, Psalmen, pp. 211-12, vv. 1-6 reflect the ascension which ended
with sacrifices of thanksgiving, followed by rites of prayer, vv. 7-13, which were
answered by the admonishment, v. 14. Similarly Craigie, Psalms 1-50, pp. 230-31,
with the anniversary of coronation for setting (with the king's departure for battle as a
less probable possibility): the psalm represents a liturgy of three relatively independent
parts. Verses 1-6 are a public declaration of faith addressed to the congregation and
120
Between Sheol and Temple
When judicial motifs are found to be central,5 some kind of event
connected with a situation of ordeal6 or asylum-seeking7 is sought. The
latter understanding would reflect the significance of the temple motifs
in this psalm.
But the motifs could also form the basis for other models of understanding. Thus, the temple motifs of vv. 4ff. should not too easily be
subordinated to other motif groups. The acts of entering and continued
stay in the temple must somehow be important in their own right8 and
followed by sacrifices, vv. 7-13 a prayer addressed to God and followed by rites to
determine or receive the oracle, v. 14 the oracle. Paying more attention to the enemy
motifs, Croft, The Identity of the Individual, pp. 101-102, sees vv. Iff. as the king's
response to divine promises, while vv. 7ff. serve as a final prayer before the ritual
battle.
5. Cf. especially the 'false witnesses' of v. 12b, although this motif is ambiguous
in this respect, e.g. Birkeland, Die Feinde, pp. 312ff., on the vassal king accused at the
court of the great king. On the other hand, Beyerlin, Die Rettung, p. 124, claims that
military motifs are more reasonably functioning as metaphors ('Bildern', 'bildhaft
umgescrieben') for judicial matters than vice versa!
6. To Schmidt, Psalmen, pp. 49ff., vv. Iff. expresses the confidence of the
falsely accused uttered before entering the sanctuary, while vv. 7ff. is orientated
towards the immediately expected divine judgment. Similarly Kraus, Psalmen,
pp. 222-23, with emphasis on distance in time and space: vv. Iff. as psalm of
confidence used 'fern von Jerusalem' (cf. also the sick person of Gunkel, Psalmen,
p. 114, 'in der Diaspora'), the lament vv. 7-13 used on arrival in the temple,
v. 14 representing the divine answer. To Beyerlin, Die Rettung, pp. 127ff., v. 14
cannot represent the decisive oracle. Verses Iff. as VoJa-Teil' reflects the psalmist
accepted into temple protection, dependent on v. 14 representing 'vorlaiifigen
Orakelbescheiden', vv. 7ff. is 'Bittgebet' expecting the ordeal theophany.
7. Aa. Bentzen, Jahves Gcest. Studier i israelittisk salmedigtning (K0benhavn:
P. Haase, 1926) and especially Delekat, Asylie, pp. 197ff. on Psalm v. 27 A as
'Erhorungsbekenntnis' reflecting the I as admitted into asylum, while B is a prayer
for a divine oracle admitting the asylum-seeker (pp. 103ff.).
8. Esp. E. Vogt, 'Psalm 26, ein Pilgergebet', Bib 43 (1962), p. 335, referring the
temple motifs to a ritual setting of examination outside the temple; M.S. Smith,
'Setting and Rhetoric in Psalm 23', JSOT41 (1988), pp. 61-66, to rites of pilgrimage
in connection with Temple Festivals, and also Gerstenberger, Der bittende Mensch,
p. 152, who relates the psalm to penitential rites connected with sickness and taking
place outside the sanctuary. Dahood, Psalms I, pp. 166-67, finds vv. 4 and 13 to refer
to eternal bliss with Yahweh in heaven. Referring to categories of 'spiritualization',
von Rad, Theologie I (1961), p. 401, asserts the psalm to reflect a 'fast mystischen
Spiritualismus', followed by Hermisson, Sprache und Ritus, pp. 114ff.
4. Psalms 27 and 26: Actualization of the Paradigm
121
could be taken to suggest the I as, for example, a cultic servant.9
Seen together, these models illustrate the richness of the materials and
demonstrate the necessity of a more comprehensive and less speculative
approach. When the psalm is related to the texts analysed above, the
motif connection is obvious: the I is in a situation of crisis, with enemy,
temple and way motifs for basic components. Especially, the end of the
psalm corresponds closely to Psalms 42-43. The combination of way
and enemy motifs in the concluding prayers (vv. 11-12), followed by the
exhortative form (v. 14), corresponds to 43.1-4 followed by vv. 5.
But for the understanding of the use of these motifs within the psalm,
the relationship between vv. Iff. and 7ff. is obviously crucial.
b. Verses 1-6
Yahweh is my light and my salvation! Whom should I fear?
Yahweh is the stronghold of my life! Of whom should I be afraid?
When the evil approach against me to eat my flesh,
those who are my adversaries and my enemies—they stumble and fall.
If a host encamp against me, my heart is not afraid.
If war arise against me, then I am confident.
Only one thing do I ask from Yahweh, this do I seek:
My stay in the house of Yahweh all the days of my life
to behold the beauty of Yahweh, to contemplate10 in his temple.
9. Eichhorn, Gott als Pels, pp. 116-17, on the I as cultic servant with
'Schaufunktion' (related to v. 4b cf. the following note). Also to Delekat, the admitted
asylum-seeker becomes a cultic servant of lower order, Asylie, p. 198.
10. biqqer is often understood as a technical term for divination, referring to
'Opferschau', S. Mowinckel, Psalmenstudien. I. Awcen und die individuellen
Klagesalmen (Videnskapsselskapets skrifter. II, Hist.-filos. klasse; Kristiania: Jacob
Dybwad, 1921), p. 146; Eichhorn, Gott als Pels, p. 117; cf. also the discussion in
Delekat, Asylie, p. 198. With the verb parallel to hdza, Lev. 13.36 is of special
importance for a parallel usage. Here rd'a is used for the immediate visual impression, biqqer for a continued visual examination. This corresponds to the usages in
Lev. 27.33 and Ezek. 34.11-12, while Prov. 20.25 refers to mental examination. In
addition, 2 Kgs 16.15 refers to the copper-altar reserved for the royal biqqer. While
other royal rites take place at the other altar and with a priestly officiant (v. 15a), the
language of 15b suggests that biqqer refers to the king's own activities. These
activities must be related to the qualification of the copper-altar in v. 14 as located lifne
Yahweh. This qualification together with the use of biqqer could correspond to the
language of Ps. 27.4 seen together with the special relationship to Yahweh and his
face in these texts. Whatever the possible connotations of biqqer it must in this
context be connected with the 'seeing' of the divine 'beauty' and thus also with the
relationship to the divine face, w. 8-9, and probably also the concluding 'seeing' of the
122
Between Sheol and Temple
For he will conceal me in the shelter on the evil day,
he will hide me in the hiding-place of his tent,
he will lift me upon the rock.
And then my head is lifted up above my enemies around me.
I shall offer in his tent sacrifices of joy.
I shall sing and play for Yahweh.
The subunit poses problems of composition similar to those of the psalm
as a whole. The relationship between vv. 1-3 and 4ff., and within the
latter, between vv. 5 and 6, can be differently described. This ambiguity
can be related to the verbal forms of the subunit, the translation of
which is necessarily tentative.
But these verses could hardly reflect a structure of thanksgiving.
Even with the introductory perfect form, v. 4, the imperfect forms of
v. 5 are unsatisfactory expressions of the narrative when followed by
v. 6 pointing to sacrifices of thanksgiving. For v. 2 seen in isolation, a
narrative function could be possible.11 But the conditional form of v. 3
must link to the rhetorical questions of v. 1. Thus, it is natural to follow
the common understanding of vv. 1-3 as a whole, as a declaration of
confidence.
For the understanding of v. 4ff., the basic observation must be that
these verses immediately continue the preceding verses as a series of
self-descriptive statements in the I-form, with Yahweh referred to in the
third person.12 This formal connection is added to by the motif usage.
The application of the enemy motifs in vv. 5-6 links the two situations of
the I as related to his enemies in vv. 1-3 and as related to the temple in
vv. 4-6. With this linkage, vv. 4ff. continue the self-description of vv. Iff.:
in mortal crisis, the response of the I is to ask for temple admittance.
In this way, vv. 4-6 can be compared to the self-descriptive statements
in 42.2-3 and 84.2-4. The introductory element 'Only one thing do I
ask—do I seek' corresponds to the expressions of longing for the temple
of the other texts. In all the three texts, the expressions of longing are
divine 'goodness', v. 13. The relationship between the parallel verbs of 'seeing' in 4b
(cf. Lev. 13.36) can be compared to Ps. 17.15. Moreover, ended by the motifs of v. 6,
the contents of v. 4b should be related to 43.4 and thus to the other expressions for
the intimate relationship to Yahweh in the temple in Ps. 42 and the other texts. Motifs
connected with visual impressions of the divine presence seem to be central for this
relationship.
11. Craigie, Psalms 1-50, p. 232.
12. According to Kraus, Psalmen, p. 223, v. 4 cites a concrete prayer uttered in the
past.
4. Psalms 27 and 26: Actualization of the Paradigm
123
connected with motifs of entrance (27.4-6 and 42.3 in I-form, 84.5ff. by
third-person forms.). And with these texts, the third-person forms of
36.6-10 and 140.14 are also relevant as parallel expressions. In these
cases, the I is qualified as confessor, with temple motifs as the expression
of the confession.
Aside from the basic temple motifs, the confessions are individually
expressed. Characteristic of Psalm 27 are the introductory vv. 1-3 which
link to enemy motifs, in this way stressing the I as wholeheartedly
turned towards communion with God whatever the crisis. To a certain
degree, this linkage can be compared to the formal structure of 36.2-5
on the evil and 6-10 on temple relationship. Correspondingly, 36.8
qualifies the temple as a place of refuge.
These texts represent parallel examples of the connection of confession
and crisis, with prayer for expression, and thus underline the connection
between vv. 1-6 and 7ff. Formally, the relationship between Psalms 27,
36 and 84 is especially close through a parallel structure of a subunit of
prayers following statements on the temple relationship. And in all the
texts, aside from Psalm 84, enemy motifs are used to describe the crisis.
In addition to these parallels, the relationship of 27.1-6 to Psalm 118
can demonstrate that these texts represent individual literary applications
of a given motif structure. On the one hand, 27.1-3 corresponds to
118.6-9 and probably also 10-1213 as an expression of the sublime confession of confidence. And the relationship between 27.1-3 and the sd'al
for temple admittance corresponds to that of 118.6ff. and the plea for
admittance in vv. 19-20. On the other hand, Psalm 27 presents these
forms and motifs with a preparatory function related to a situation of
crisis (vv. 7ff.), while in Psalm 118 these motifs are connected to a crisis
of the past narrated in vv. 5, 13 and 18 (cf. vv. 14b and in 21) and given
function within a literary frame of collective praise (vv. 1-4, 29). Both
texts have a parallel relationship between the motifs of the confession
and of the crisis. The hypothetical enemies of the confessions have representatives in the crises of the present (27.11-12) and the past (118.13). In
these texts, the basic motifs seem to function as some material nucleus,
alluding to given situations which are connected as a series of events,
13. Usually seen as a problematic reference to the past (e.g. Criisemann, Hymnus
und Danklied, pp. 217-18), vv. 10-12 could in the same way as 27.1-3 (cf. the perfectforms of 27.2b corresponding to 1 IS.lOa, 1 la, 12a) be understood as expression for
the somewhat pleonastic style of confession. With such a function for vv. 10-12, the
character of v. 13 as narration addressed to the hostile You would not be disturbed.
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and which can be given individual literary expressions and applied in different types of genre.
This can be illustrated also by Psalm 23. As series of stating sentences
in I-form, concluded by temple motifs, the two texts are closely related.
And comparably to the transition from 27.1-3 to 4-6, also in Psalm 23
the compositional development is formally broken by the transition
vv. 4-5 into Yahweh's being addressed and by the change from shepherd
to host motifs. In addition, v. 4 repeats the sentence types of v. 1 (cf.
below). This could suggest some type of parallel relationship between
two parts, with Yahweh related to the I as food-giver forming some
abstract thematic link between the motifs of the first and the second part.
At the same time there is an obvious connection between the two
parts, illustrated by the shepherd motif retained in v. 4 which, formally
considered, introduces the second part addressed to Yahweh. The motif
structure of the psalm as a whole demonstrates a compositional development of pilgrimage motifs, the I in movement under divine guidance
(1-4) and ultimately in the temple (5-6).14 This corresponds to the motif
structure of the texts analysed above, with the allusion of v. 4 to the
dangers on the way especially close to the motif development of 84.5-8.
The close relationship between Pss. 23 and 27.1-6 is also demonstrated by the sentence types of 23.1, 4 and 27.1 together with 118.6-7.
Introductory nominal statements on Yahweh related to the I are followed by stating sentences on the I related to some type of crisis. Of the
motifs in the I-statements, the fear motif is of special significance.15 Both
in 27.1-3 and 118.6-7, this motif is connected with the enemy situation.16
The significance of this situation is also underlined by Psalm 23. While the
situation of crisis in v. 4 is expressed in topographical terms similarly to
84.7, the combination of temple and enemy motifs in 23.5, similarly to
27.5-6, stresses the enemy situation as the central expression for the
14. Smith, 'Psalm 23', pp. 61-66, with the psalm understood on a background of
rites of pilgrimage. Verses 1-4, parallel to Pss. 42-43 and 84, draws on the language
of the journey to Jerusalem, while vv. 5-6, parallel to Pss. 27 and 63, echoes the
celebration in the temple precincts.
15. With an obvious connection between these forms and 'the priestly oracle of
salvation', J. Begrich, 'Das priesterliche Heilsorakel', ZAW52 (1934), pp. 81-92,
reprinted in Gesammelte Studien zum Alien Testament (TB 21; Munich: C. Kaiser,
1964), pp. 226ff.; and Studien zu Deuterojesaja (TB 20; Munich: C. Kaiser, repr.
1963 [1938]), pp. 20-21.
16. On the connection of the 'al rira-saying and holy war-traditions with special
emphasis on the king as the recipient, see Conrad, Fear Not Warrior.
4. Psalms 27 and 26: Actualization of the Paradigm
125
crisis prior to dwelling in the temple.
Given this background, the parallel formal rupture within 27.1-6 and
Psalm 23 is worth noting, especially as it is of different character. Clearly
the two texts reflect dependence on a connected series of motifs which
ultimately could be expressed as a series of succeeding events. The execution of the motifs can have the same function as statements of
confidence. On the other hand, the different exposition of way and
enemy motifs compared to the temple motifs is suggestive. When we
pay attention to 118.19ff. with a situation of entrance into the temple
following a situation of crisis and connected to a situation of confession,
the formal character of Psalms 23 and 27 in presenting the temple motif
must be significant. The two motif groups refer to different types of
situation, connected to the I as outside and inside the temple.
This is important with regard to the application of the enemy motifs in
Psalms 23 and 27. In both texts, the enemy motifs are connected with
the situation of the I in the temple. In 23.5 the enemies are witnessing
the sacred meal. And in 27.1-6, the connection is made logical by the
temple in vv. 5-6 being defined as the I's place of protection, with
Yahweh 'hiding' him and 'making (him) high on the Rock' so the I's
'head is high' above the enemies surrounding him. This corresponds to
Yahweh defined as 'my stronghold' (Ib).
Here, the enemy and temple situations are closely linked. The temple
is related to the enemy situation; the literary expositions of 23.5 and 27.6
even presenting the enemies as inside (cf. the traditional models of
understanding of the temple as asylum/refuge or as the place of ordeal).
On the other side, the other temple motifs should not be subordinated to
the enemy motifs. Corresponding to the other texts, staying in the temple
refers to a series of events of special character, with a special relationship
to Yahweh as central (in 27.1-6 with the beatific vision qualifying
dwelling in the temple in v. 4, in addition to motifs of praise and
sacrifice, the importance of the latter stressed by the sacred meal motifs
of Psalm 23). Here, as in the other texts, it is obvious that the temple
motifs refer to experiences not sufficiently described as salvation from
the enemy situation.17 The singular motif applications of 23.5 and 27.6,
with the presence of the enemies underlining the triumph of the I in the
temple, could be related to the character of the two texts as confessions.
17. This is also illustrated by on the one hand Dahood referring to heavenly bliss,
on the other hand von Rad and Hermisson to 'almost mystical' states.
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In this way, Pss. 23 and 27.1-6, together with 118.6-12, can be understood as reflections of the motif structure as confessed in I-form. The
close relationship of the texts makes the individual differences the more
distinctive, demonstrating the literary freedom of application. While
Psalm 23 is given to motifs of way and guidance, aside from the temple
motifs, 27.1-6 (as also 118.6ff.) is dominated by enemy motifs. And
while 23.5 alludes to the enemy situation, way and guidance motifs are
found in the prayer part (v. 11) of Psalm 27. At the same time, the
development towards dwelling in the temple as the concluding climax of
the I-story and the other parallel phenomena stress the common dependency of some formative basis. Obviously, these types of usage must
reflect the motif structure as traditional, both as given and as the object
of literary applications.
At the same time, the three applications are characterized by a
common function. The I-forms present the I as confessor, representing a
model figure of batah. This aspect can also be illustrated by the thirdperson forms of Ps. 112.5ff. Here we find the basic motifs of these texts
in the form of an extended beatitude extolling the virtues of the merciful
money-lender. The repeated non-fear vv. 7 and 8 connected with bdtah
corresponds to these texts. The fate of the model is linked to categories
of judgment (v. 5) and framed by the relationship to the evil enemies
(8b, 10). The stereotypical use of motifs of 'firmly standing' (6a, 7b, in
9a) and also of rum (9b) in an expression similar to that of the first sentence in 27.6 demonstrates the traditional language of the beatitude.
Whereas the connection with virtues of money-lending suggests a rather
late application of the motifs compared with the other texts, this connection stresses the stereotypical character of the figure as the expression of
a religious paradigm. Also the I-forms of Pss. 23, 27.1-6 and 118.6-12
must present the I as an actualization of the ideal figure.
c. Verses 7-14
Listen Yahweh! I cry aloud. Be gracious to me and answer me!
My heart speaks to you: Seek (?) my face!
Your face, Yahweh, do I seek. Do not hide your face from me!
Do not turn away in anger your servant—my help have you been.
Abandon me not! Leave me not—God my salvation.
For my father and my mother have left me—but Yahweh will gather me.
Teach me, Yahweh your way!
Lead me on the level path because of those who spy me out!
Deliver me not to the will of my adversaries!
4. Psalms 27 and 26: Actualization of the Paradigm
127
For false witnesses have risen against me, snorting (?) violence.
Oh—if I did not believe that I shall see the goodness of Yahweh
in the Land of the Living!
Wait for Yahweh! Be firm and your heart be strong! Wait for Yahweh!
Separated by v. 10, the prayers in vv. 7-12 fall into two parts. The pattern of two sets of prayer, separated by a /cf-sentence, and the concluding exhortation of v. 14 corresponds to the formal structure of 43.15. The formal relationship between the two texts corresponds to the
motif usage. This could suggest a common dependence on a rhetorical
figure. But the formal structure of Psalm 27 is more complicated. The
second prayer is ended by a fcf-sentence v. 12b. The formal relationship
could be expected to point to a common function for vv. 10 and 12b.
But while 12b is given to enemy description and thus could be labelled a
complaint, the parallel description v. lOa prepares negatively the confessionary lOb. In this way v. 10 should be related to the elements 'my
help have you been' in 9a and 'God my salvation' in 9b as concluding
the pattern of prayers and confessionary forms stressing the relationship
to Yahweh.
On the other hand, the relationship between 12b and the exclamation
v. 13 could correspond to the two sentences of v. 10. Formally, v. 13
represents an unfinished construction, but must have the function of
confession.18 Then v. 12b would correspond to lOa as negatively
preparing the exclamation of ultimate trust during a terrible situation. In
this way, both sets of prayer would be linked to the I as confident. This
would connect the prayer part of the psalm to the dominating interest of
the first part vv. 1-6. It is even possible that v. 14 asyndetically completes the unfinished construction of v. 13, with the imperatives
repeating and underlining the exclamation.19
The open character of the exhortation in v. 14 makes the identity of
the addressee uncertain. Traditionally, it has been seen as expression or
reflection of the oracle given for the ritual setting of the text. On
the other hand, the relationship to 43.Iff. would suggest v. 14 as selfexhortation similar to the refrain of 42-43. In any case, it is natural to see
the addressee as identical with the I of the psalm. Formally, the pattern
of elements in v. 14 can be connected to the structure of vv. 1-3. Verse
18. Usually emended, e.g., Craigie, Psalms 1-50, p. 230, while Kraus, Psalmen,
p. 221, stresses the significance of the present form as 'Gewissheitsaussage'.
19. For a comparable relationship between exhortation and confessionary I-forms
cf. Ps. 55.23-24 with the elements in reversed order.
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14 has two imperatives and a special element with 'your heart' for
subject before the last imperative. This corresponds to the I-forms of
vv. 1-3, with three sentences in the first person, the second last with 'my
heart' for subject. In v. 14, the subtle difference between imperatives
addressed to 'you' and the jussive related to 'your heart'20 can also be
compared to the I of Psalms 42-43, split between the confessing I and
the soul for the weaker part of his totality.
With the I for addressee, v. 14 can be seen as self-exhortation or as a
literary device of encouragement, mitigating the subjective tension of the
exclamation in v. 13 and concluding its confession. This can be compared to the exhortation of 55.23, following forms of confession in vv.
17ff. and connected with descriptions of the evil enemy (vv. 19b; 20
second line MT; 21-22). In the context, the concluding I-form addressed
to Yah wen in v. 24 is naturally understood as the final confession of the
I of the psalm.
On the other hand, the open character of the exhortation in 27.14
could make its function more open-ended. While the context of the psalm
points to the I as the natural addressee, the exhortation could reflect the
psalm as applied to a secondary situation of users in some way relating
their fates to the fate of I of the psalm. Either as identifying themselves
with the literary I or as otherwise partaking in the fate of the I-figure,
the users, addressed as 'you', could be included in the exhortation. This
possibility is supported by the formally close exhortation of Ps. 31.25.
Part of the conclusion of vv. 24-25, the exhortation is related to I-forms
of praise in vv. 22-23 connected to general third-person forms (vv. 2021). Verses 22-23 allude to a situation of suffering (v. 23 first line MT)
which contrasts with the present situation of relationship to Yahweh.
Connected to a wider context of prayers and descriptions of the I as suffering, the function of 31.24-25 is comparable to that of 27.14. Against
this background, it is interesting that the second-person plural forms of
the concluding exhortation explicitly include a second layer of actors
textually present. The abrupt introduction, concluding a context given to
the story of the I, must reflect that the fate of the I, as expressed in the
psalm, is relevant to the fate of the 'You'.
The composition of the prayers in vv. 7-12 stresses the function of the
I as an actualization of the ideal figure. The prayers correspond to the
confessions of vv. 1-6.
20. Cf. also Ps. 31.25 with a similar construction.
4. Psalms 27 and 26: Actualization of the Paradigm
129
In the introductory prayer in vv. 7-10, the invocation of v. 7 is elaborated by motifs on the Fs relationship to Yahweh. Of special importance
are motifs connected with 'the divine face' (v. 8b and the first sentence
9a)—with a parallel relationship to 'my face' (8a) corresponding to the
basic motifs of seeing/being seen. This corresponds to the qualification of
dwelling in the temple (4b). The connection is the more evident as v. 4
describes the I related to the temple by the verbs of sd'al and biqqes.
The prayer for relationship to Yahweh (cf. also the use of biqqes v. 8)
makes the I of vv. 7-10 an expression of the professed attitude of v. 4.
Surrounded by enemies (12b), the I seeks the 'one thing' from the
Lord. The confessionary elements in vv. 9a, 9b and 10 stress this connection with vv. 1-6.
The prayer in vv. 11-12 consists of way and enemy motifs. But the
enemy motifs are clearly dominating. Not only is the H-sentence v. 12b,
concluding vv. 11-12, given to these motifs, as is 12a, but also the waymotifs in 1 la are connected to enemy motifs in 1 Ib. This special combination corresponds to the confessions of 1-6. In vv. 1-3, the confession is
related to the enemy situation. And in vv. 5 and 6, admittance and
dwelling in the temple are connected with the I as confronted by
enemies.
In this way, with prayer both for a special relationship to Yahweh and
for salvation from the enemies, vv. 7-12 correspond closely to vv. 1-6.
What is stated in the first part in self-descriptive sentences, is in the
second part connected to forms of prayer. The I as supplicant is another
expression of the I as confessor.
This relationship between the two parts can especially be demonstrated by the enemy situation as confessed and as object of prayer. As
elaborations of the rhetorical 'whom should I fear?', the enemies of
vv. 2-3 represent stereotypes of frightfulness (2a) and hyperbolical might
(3a). Contrasting with the I as confident and praying for the 'one thing'
of Yahweh-relationship, the enemies are hypothetical illustrations of
'come whatever may come'. But as 'false witnesses' in 12b, the enemies
of the prayers are cut down to human size, aside from their basic character as 'evil'.21 The I of v. 14 remains confessor in crisis. But the
exclamation, presupposing a situation of utmost despair save for the
basic hope, strikes a subjective posture far removed from the heroic
stance of vv. 1-3.
21. Cf. especially the relationship between the enemies of the confession
Ps. 118.6-12 and the more modestly 'pushing' You of the narrative v. 13.
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Between Sheol and Temple
In this way, the parallel relationship between the two parts must
reflect vv. 7-12 as an actualization of the I as confessor, linked to a particular situation. Thus, the relationship between the two sets of I-forms
can be compared to the relationship of the confessed third-person statements of religious truth and the I-forms of Psalms 36, 84 and 140. The I
of vv. 1-6 represents the ideological pattern of religious behaviour, vv. 713 the pattern as actualized.
That vv. 7-13 with the concluding v. 14 basically represent the given
pattern can be illustrated not only by the parallel relationship to the
motifs of vv. 1-6, but also by their relationship to 43.1-5. Aside from the
concluding exhortation 43.5, the prayers are of special significance.
Separated by afc?-sentence,these prayers fall into two parts. As to contents, they more or less correspond to the relationship between 27.7-10
and 11-12, with 43.1-2 given to the enemy situation, vv. 3-4 to the relationship with God on the holy mountain.
However, the expressions for this basic correspondence differ. The
closely related prayers for divine guidance in 27.1 la and 43.3 are in 27
related to the enemy situation by the context and the loosely added 1 Ib;
in 43 to the special relationship to God. Also, in Ps. 43 the way and
temple motifs are connected in a logical development: divine guidance
brings the I to the dwelling-place of God. Moreover, with the I located in
Sheol, the way motifs are implicitly connected also with movement from
the negative locality. While the introductory enemy prayer is parallel and
without any formal relationship to the prayer for guidance, the motifs of
Psalm 42 suggest that the enemy situation is linked to stay in Sheol.
Thus, the I in movement from Sheol to temple could also be linked to
the enemy situation. Compared to this type of motif connection, the
application of the way motif in 27.11 seems rather loose with a very
uncertain relationship between 1 la and 1 Ib.
On the other hand, the differences of the two sets of prayers correspond to their contexts. The conclusion of 42-43, with the concentration
on temple motifs, corresponds to the introductory vv. 1-3. Similarly the
emphasis on the enemy situation of the concluding prayer in 27.11-12
corresponds to the introductory confession vv. 1-3; both connected with
the threat from enemies.
In this way, the differences between the prayers characterize them as
individual expressions of a common set of motifs linked to given concepts of enemy, way, and the divine presence in the temple—the latter in
Psalm 27 also occurs as a separate motif group without reference
4. Psalms 27 and 26: Actualization of the Paradigm
131
to dwelling in the temple. The application and combination of the stereotypical motifs is characterized by literary freedom for individual expression. The close relationship of 27.7-14 and 43.1-5 indicates that these
prayers—and thus also the function of the motifs—must have a close
relationship with regard to contents and function. They—and probably
also the enemy prayers in 140.2, 5, 9ff. and 36.12, together with the
pleas for a special divine attention in 140.7, 84.9, 36.11—could have a
primary function as referential allusions to a given situation of the I in
crisis.
d. Conclusions
i. The I as confessor. The basic elements of the given motif structure are
represented in Psalm 27. 'Reality' is described by local categories, here
by temple and way motifs. While Psalms 42-43 are important in linking
the crisis to stay in a negative contrast locality in addition to the usual
enemy motifs, Psalm 27 describes the crisis by reference to enemy motifs.
But when the way of v. 11 is linked to enemy motifs, and the entrance
into the temple in v. 5 described as 'hiding' and 'concealing', the crisis
in this psalm is connected also to a situation outside—the negative character of the outside stressed by the fervour of the wish to be inside. In
this way, Psalm 27, together with 42-43, is important for the understanding of the other texts analysed above, with its clear connection
between the enemy situation as the crisis and dwelling in the temple with
relationship to God as the summum bonum.
What is special about the application of the motifs in Psalm 27 is
the repetition of the basic pattern. The way in which this repetition is
executed stresses the allusive and referential character of the central
motifs. The communicative significance of the single motif is not limited
to the particular application, but depends also on a pars pro toto function
as a reference to a more comprehensive situation. In addition, the relationship between the two applications of the motif structure demonstrates
the literary freedom of exposition in relation to the particular interest of
the single composition.22
22. Cf. also above to the use of the enemy motifs in Ps. 23. Also the applications
in Pss. 15, 24, and Isa. 33.14ff. are interesting in this respect. Orientated towards
criteria of admittance, the basic enemy relationship can only be inferred from certain
motifs which describe dwelling in the temple; cf. 15.5b and especially 33.16 with the
temple indirectly qualified as a fortress.
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The repetition of the motif structure is important in stressing the
character of the I as confessor in these psalms. This is illustrated by the
relationship of 27.1-6 to Psalms 23 and 118. In Psalm 23, a parallel
confession forms an independent composition. In Psalm 118, similar
forms are connected to a situation of enmity narrated as having taken
place in the past. Correspondingly, in Psalm 27 the confession is linked
to prayers for Yahweh's intervention in a situation of enmity. In Psalms
118 and 27 the enemy situation and what we might term an 'ideal'
enemy situation, linked to the confession, are differently described.
The repetition of the basic pattern could be helpful with regard to the
understanding of the other texts. As related to prayers, the confession in
the I-form of Psalm 27 corresponds functionally to the third-person confessional statements of Psalms 140, 36 and 84. The relationship of the I
of the confession and the I of the prayer corresponds to that of the I to
the righteous or the blessed or of 'men' in the other texts. With regard
to Psalms 140, 36 and 84, this correspondence stresses the connection
between the dogmatic statements and the situation of the I as that of
paradigm and actualization. With regard to Psalm 27, it would stress that
the I of the confession represents a paradigmatic figure. In both cases,
the third-person and first-person confessions stress the ideological ideal
as relevant also to an actual situation of crisis.
This would have consequences for the understanding of the enemy
motifs of these texts. The ideological situation clearly encompasses the
model figure in mortal crisis due to enemies. So the application of the
enemy motifs in these texts should not primarily be related to real life
experiences or to contemporary social life in general, but to the requirements of the paradigm. The religious paradigm as expressed in the motif
structure presupposes the model figure in mortal conflict, the enemies
an integral part of the ideal story. The enemies' being basically mythical
figures would explain the indifference of the texts towards consistency
and biographical accuracy with regard to the nature of the crisis. Just as
the male hero of the typical Norwegian folk-tale must confront the trolls
or giants, the paradigmatic figure must face the evil enemies.
On the other hand, the parallel relationship of the enemy motifs in the
two parts of confession and prayer in Psalm 27 suggests that the I of the
psalm—and probably also the other texts—not only is described according to a given pattern of ideological nature, but that the description has a
background in some actual crisis. The relationship of mythical and actual
4. Psalms 27 and 26: Actualization of the Paradigm
133
enemies could reflect a relationship of paradigm and actualization.23 This
would add to the significance of the I in a situation of prayer. The I of
vv. 7ff. represents the actualization of the I in the self-description of
vv. Iff. In this way, the complaints and the prayer should not be understood as primarily emotional outpourings of distress intended to mollify
the deus ex machina to produce a happy ending. To modern readers,
the composition of laments, prayers and expressions of sublime confidence are bewildering because these elements seem to express psychical
reactions/ritual situations of different nature. This modern attitude is well
demonstrated by the difficulties of commentators with regard to the
composition of Psalm 27. Prayers which express total helplessness and
descriptions of the terrible situation of the I are naturally found to
express a subjective situation greatly different from that of the fearless
confessor of vv. 1-3. But as related to the given pattern, a situation of
suffering with the I confronted by evil enemies would represent 'die
positiven Merkmale des saddiq',24 And the act of prayer especially
would characterize the I as conforming to the ideal of vv. Iff., with sd'al
(v. 4) as the expression of the I as boteah. In this way, the I as supplicant
in a situation of suffering defines the I as the embodiment of the model
figure. Verses 7ff. are thus of special importance in expressing the I as
verily the confessor of vv. Iff.
This could be related to the peculiar lack of a positive qualification of
the I in these texts which could have the function of contrast relative to
the negative qualifications of the enemies. The negative figures are consistently qualified as somehow 'evil', described in categories which have
the qualifications of, for example, righteous and upright in the contrast
statements of Ps. 140.12-14 for opposites. But the texts analysed so far
(cf. below to Psalm 26) underline that such positive contrast descriptions
are not necessary for the qualification of the I as embodiment of the
positive ideal. The situation of attack by evil enemies and the I turning to
God/relating himself to the temple is the necessary qualification.
Such a significance attached to the prayer as the sublime confession
23. A relationship of this kind would also be relevant for the understanding of the
connection between these texts and other literary genres as parallel reflections of the
motif structure, such as the prophet legend of Elijah and the collective story of the
Exodus (cf. Chapter 3, above).
24. Von Rad, Theologie I, p. 379 on the righteous characterized by his relationship
to the Torah.
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Between Sheol and Temple
could also be related to the utter passivity of the I in these texts. The
enemies are the active attackers—the attacked obviously helpless. Given
the Holy War associations of the 'al tird-oracle, we might expect references to some type of active participation in the confrontation. But the I
is consistently passive, with the act of supplication as the one expression
of the active mode.
This puts a corresponding emphasis on the significance of the miraculous category of the motif structure, the prayer calling forth the decisive
action of the events. With regard to divine intervention, the I is utterly
passive, with the force from the other level of reality breaking up the
impasse, saving the I, revealing the way and bringing him to the temple.
In this way, the I as paradigm could also have a theological function as a
demonstration of the conditions in which the divine force manifests itself,
the situation representing some sacred magic channelling the divine
forces.25
And finally, the relationship of vv. Iff. and 7ff. in Psalm 27 could have
repercussions for our understanding of some apparent ambiguities of
language. The analysis suggests that vv. Iff. as confession express the
religious paradigm in I-form, while vv. 7ff. reflect the I as embodiment
of the paradigm in a concrete situation. As we have seen, the different
types of enemy-description in, for example, vv. 2-3 and 12b could
reflect such a difference between ideological and actual reality.
Such a difference could also be reflected in vv. 4 and 13. The construction in v. 13 'to see the goodness of Yahweh in the land of life/the
living' corresponds, both in basic motifs and form, to that of 4b 'to
behold the beauty of Yahweh, to contemplate in his temple'. "The land
of life/the living' as expression for the positive locality corresponds to
Isa. 38.11 in the context and also to the motif 'firmly standing in the
land' in 140.12, in both cases connected with motifs of death and
dwelling in the temple.
Thus, the I is related to two types of positive locality within the one
text, to the 'land of life' with Sheol for the obvious contrast, and to the
temple. While the temple motif in these texts also has Sheol for the con25. This aspect could especially be demonstrated when actors such as Moses and
Elijah are the heroes of the sacred stoiy. Their function is clearly to bridge heaven and
earth as channels for the divine forces. But the hero as a figure of 'magic' could also
be related to the peculiar collective application of a number of I-psalms (e.g.
Pss. 51.20-21, 69.36-37), as well as to the traditional models of understanding which
interpret the individual as some kind of 'representative' figure.
4. Psalms 27 and 26: Actualization of the Paradigm
135
trast locality (cf. above all Psalm 42), it must in addition have associations of ritual locality and practice. And for the I as 'seeing', v. 4b refers
to states of mystical exaltation, while v. 13 presents the much humbler,
however attractive, goal of experiencing the divine goodness as alive.
The two qualifications of the positive fate must be significantly related.
Thus, in this psalm, the state of intimate relationship to the divine presence is related to the enemy situation, with the exaltation of the I (v. 5,
cf. especially Ps. 63.3-4) as an exaltation of the head above the surrounding enemies (v. 6). But even with a function of saying the same
thing, the two motif sets are basically different and must allude to
different sets of connotations. This is demonstrated by the one motif set
extended into descriptions of the exalted experiences of Moses and
Elijah on the sacred mountain, as contrasted with the motifs used for the
description of the healing of Hezekiah.
Given this background, the localization of the two types of motif in
the two parts of Psalm 27 could hardly be coincidental. On the one
hand, with regard to function, the qualifications of the good fate must be
identical. On the other hand, it is natural to understand the two types of
motifs to refer to the different levels of reality relevant for the language
of these texts. In this case, v. 4 would reflect the language of the
paradigm, immediately connected with ritual practice and ideology,
while v. 13 more directly reflects the biographical reality of the I.
This certainly should not imply that the materials of any text of this
type could easily be separated into parts giving ideological and biographical information, corresponding to the traditional exegetical operations.
As to composition, Psalm 27 is rather special. Within the ideological
vv. Iff., the temple is not only the place of mystical contemplation, but
also a place of protection; that is, it is given a function subordinate to the
enemy motifs. In addition, the very interest of the composition would be
centred round the ideological aspects. But at the same time, the special
composition of Psalm 27 could be used to suggest the different levels of
reality relevant for the language of these texts and thus of different
possibilities of original application.
This could also be illustrated by the traditional qualification of Yahweh
as the 'stronghold of my life' in the initial confession in v. 1, stressed by
the rock motifs of vv. 5-6.26 While the traditional application in vv. 4ff.
expresses Yahweh as being in the temple as his place of dwelling, the I
26. Eichhorn, Gott als Pels, pp. 30-91.
136
Between Sheol and Temple
brought into the temple to see the divine dweller, the qualification of
vv. 1-2 implies Yahweh as the locality which contains the life of the I.27
The two types of motif application could reflect an immediate and
unproblematical mixing of two sets of language, one reflecting a background of ritual practice and experience, the other ancient divine
epithets.28 But even with some background of this type, the actual motif
usage reflects that the ancient traditions not only are repeated as traditional sacred language, but also applied creatively in new types of usage.
The compilation of the two types of motif in, for example, Pss. 27 and
61.3-5 must presuppose some connection as to meaning. The numerous
elaborations on Yahweh as rock, fortress and so on could be qualified as
similes or metaphors or simply as poetic elaborations of ancient terminology. Even so, they must reflect some type of ideological application
of temple motifs, the language expressing some experience of relationship with Yahweh.29 At the very least, the meaning of inside and outside
the temple cannot be confined to physical categories of presence in the
local sanctuary.
In this way, the composition of Psalm 27 suggests that the text from
its very origin is open to more than one type of interpretation and application. In addition, the beatitude of Ps. 112.5-10 is an interesting illustration of the implications of 27.1 and v. 13. Here, the traditional language
of enemy crisis and dwelling in the temple is connected to the fate of the
money-lender, even internalized with 'his heart' and 'his righteousness'
as 'firmly' or 'eternally' 'standing'. The no-fear and trust motifs are not
connected to any terrors comparable to Ps. 27.3, but to bad tidings.
Even in a rather young text, the application of the traditional language
of Ps. 112.5ff. is comparable to that of 27.1 with Yahweh for temple and
in v. 13 with the beatific vision connected to normal experiences of the I
as alive.
27. These applications are immediately connected in Ps. 61.3-4, with Yahweh
(v. 3b) guiding the I unto the rock, motivated (v. 4) by Yahweh as the refuge and
tower of the I, and followed (v. 5) on the I as eternal guest in Yahweh's tent, seeking
refuge under his wings.
28. Eichhorn, Gott als Pels, pp. 83-88, on 'Yahweh as rock' reflecting an old
Jebusite sacral tradition on a Jerusalem divinity which reveals itself on a special holy
rock. With such a background, one could expect motifs which both reflect the
concrete cultic usage centred round the holy rock and the ancient epithets.
29. The special type of motif usage in vv. 1 and 13 could also be related to their
location in the psalm as introducing and concluding the I-forms, in addition to their
special formal character. In addition, the two verses are connected by the life motif.
4. Psalms 27 and 26: Actualization of the Paradigm
137
Thus, many possible actors could have identified with the literary I of
Psalm 27. The soldiers of Deuteronomy 20 and the bourgeois moneylender of Psalm 112 can be added to the Israel of the Exodus and the sick
Hezekiah in addition to exalted figures on the levels of Moses and Elijah.
But whatever the application, the textual I is presented as an actualization of the ideal confessor. In the line of events connected with the basic
motif structure, the textual situation is centred round the situation of
crisis, dominated by prayer and thus orientated towards the divine manifestation as the decisive event.
With this function, Psalm 27 is significant as an illustration of the connection between ideological language and some biographical reality. This
is expressed by the separation of the text into two parts, the one given
to an I representing the typical model figure, the other to an I in a situation of conflict, interpreted as an actualization of the religious paradigm.
This connection also points to the literal connection between ideology
and biography. The I of this psalm represents an embodiment of the
paradigm, the personal fate an expression of the paradigmatic fate.
Connected to a frame of religious development, the I both of the first and
second part of Psalm 27 represents a being of extraordinary attainment.
ii. The Address to the 'You'. This conclusion could be complicated by
the possible intrusion of a secondary situation of application. The concluding exhortation of v. 14 could reflect an application with users
relating/being related to the fate of the I. This understanding of v. 14 is
not certain. But as we find other texts with a more determined transition
to You-forms, Ps. 27.14 raises an important problem for the understanding of the function of the I-psalms. This secondary situation of
application might even represent the prime—perhaps even the sole!—
interest of the composition.
An interest of admonishment would stress the superpersonal, ideological character of these texts. As for the relationship between the I and
the users, the character of these texts implies a relationship of paradigm
and imitation/identification. Especially in the case of the normal I-psalm
without any explicit expression for any secondary situation of application,
such a process of identification would be immediate, due to the use of
first-person forms.
On the other hand, this raises the possibility that the use of firstperson forms in these texts represents a literary device, the textual I
made concrete by the single user identifying with the paradigmatic fate,
or related to it in admonishment when addressed as 'You'.
138
Between Sheol and Temple
This would represent the simplest model of application for these psalms.
The textual situation of an I turned to Yahweh in prayer would correspond to the situation of application, with living figures enacting the role
of the I.
But as we have seen, Psalms 130 and 13130 suggest a more complex
relationship, with an I presented as an example figure to be imitated by a
new set of 'waiters for Yahweh'. From texts like Psalms 31 and 130,
131 connected to Psalms 42-43, 27, and 55 in addition to 62 (cf. below),
it is natural to surmise this second layer of actors to be relevant also for
the other I-texts. In the case of Psalms 130, 131 and 62, the descriptions
of the I-figure and the form of the address to the You make it difficult to
understand the I as a literary projection materially identical with the
addressed. The T and 'You' of these texts must represent different actors.
In addition, the composition of the psalms analysed above stresses the
importance of a given I-figure as actualization of the paradigm. This is
expressed by the compilation of I-forms related to 'objective' forms
which reflect the paradigm, usually in the form of third-person statements in addition to the I-forms of Psalm 27 and probably also 42. Thus,
the late redactional superscriptions which connect a particular I-psalm to
some biographical event in David's life could be regarded as a reflection
of this original understanding of the textual I as giving expression to
some lived experience.
In this way, Psalms 130 and 131 together with 31, 62, and possibly
also 27 and 55, which show an explicit transition from I-forms to an
addressed You, suggest a rather complicated connection between two
situations related to two sets of actors. Each of the two situations is of a
character to constitute the literary interest and given both it is difficult
to decide what the psalm is all about. In the prayer psalms, the literary
situation must be dominated by the address to Yahweh. But the Youforms stress the importance of a situation of exhortation, which could
imply that the prayer situation has a subordinate function compared to
the real interest.
This relationship is even further complicated when we take into account
the application of the paradigm. In the composition of the psalms analysed
30. The I of these texts as a paradigmatic figure cf. especially Kraus, Psalmen,
pp. 873, 875, on Ps. 130; Taylor, Psalms, p. 679; K. Seybold, Das Gebet des
Kranken im Alien Testament. Untersuchungen zur Bestimmung und Zuordnung der
Krankheits- und Heiligungspsalmen(BWANT 5.19; Stuttgart: Kohlhammer, 1973),
p. 76.
4. Psalms 27 and 26: Actualization of the Paradigm
139
earlier, we noted two main types of application, with the compilation of
objective statements—usually in the third person—and I-forms, the latter
describing the representation of the ideal. But in Psalm 27, we may have
to separate between three types of application of the paradigm: the I
directly reflecting the ideal figure in general confessions; secondly, representing the ideal in a particular crisis; and thirdly, his fate applied as
paradigm for the addressed You.
However complicated, the idea of such a relationship is supported by
the formal construction of Ps. 31.20ff. Here we find a composition of
third-person statements, vv. 20-21, in hymnic form corresponding
especially to 36.6-10. This is followed by first-person forms, which both
formally and in motifs correspond to the third-person statements, the I
as giving an example of the divine sheltering. Finally, this is followed by
a concluding exhortation, vv. 24-25.31
Thus, it seems that we have to conclude that these texts could be
centred round two interests. One is connected with the I as actualization
of the religious paradigm, the other connected with the application of
this I as paradigm for others. At the very least, these explicit references
to a second layer of actors in some texts must suggest an old tradition of
interpretation and application for the other I-texts.
The relationship of the addressed to the literary I must be that of
imitation/identification. This is given by the composition of these texts,
presenting the I as embodiment of the paradigm. The addressed are
related to the religious ideal in the form of some actual figure.32 Such a
relationship is directly expressed by the You-forms in Psalms 130, 131,
31, 62, and possibly also 27 and 55. The addresses are centred round
some central terms as qiwwd 'eel, hdhil le or bdtah be Yahweh in addition to forms of admonishment connected with the 'al rfra-oracle.
Related to the context, the exhortations express a strangely symmetrical
relationship. The addressed You seem to face a situation having the same
character as, or at least one parallel to, that of the I, and are admonished
for a response identical with the paradigm. For the relevant texts without You-forms, this type of application would invite the user to identify
with the textual hero, presented as I.
31. Cf. also a similar formal pattern Ps. 55.23-24, with exhortation motivated by a
third-person statement followed by a confession in I-form.
32. For parallel expressions of a hierarchical relationship between different sets
of actors, the divine 'message' mediated in a link of parallel relationships to the
revelation, see Hauge, 'On the Sacred Spot', pp. 30-60.
140
Between Sheol and Temple
Such applications must reflect some kind of religious practice, corresponding to the descriptions of the I-figure as expression of the relationship
between religious paradigm and actual life experience. Presupposing an
immediate connection between the paradigmatic fate, the fate of the I
and even of those addressed, these applications also stress the objective
character of the motif structure. Either as ideological pattern or biography, the story of the I represents the lawful fate of the human figure in
relation to religious reality.
The background to such a combination of two sets of biography, with
the experience of the I seen as relevant for others, could be sought in
different models of understanding. Thus, the texts could be related to a
situation of institutional character, where the I-figure was directly represented as a person among other persons. Such a situation could be presented by for example Psalm 118, as an expression of some kind of
initiation. A parallel type of situation could be represented by that of the
Wisdom teacher admonishing his 'sons' in I-form, the admonishment
connected to biographical experience. The significant number of literary
expressions of this situation in the Wisdom tradition attests to its importance. Especially, the traditionally accepted combination of the I of the
Wisdom teacher and the I of thanksgiving in some psalms illustrates the
relevance of this model.33 While such a model is relevant only for a
limited number of texts, labelled as Wisdom psalms, it can at least illustrate an important layer of interpretation and application of the older
texts. Even if the Wisdom psalms should reflect a rather late literary
development, the role of the Wisdom teacher—with its emphasis on personal experience coupled with admonishment—represents an influential
literary and religious stereotype older then the textual expression in the
Wisdom psalms.
For the normal I-psalms, another model could be sought in ideas of
mediation and intercession connected with the prophetic function.34 In
33. On the characteristics of the 'Wisdom Psalm', cf. generally R.E. Murphy, 'A
Consideration of the Classification "Wisdom Psalms'", VTS 9 (1963), pp. 156-67;
and especially Beyerlin, Wider die Hybris, pp. 8 Iff. on the author of Ps. 131 as a
professional teacher of Wisdom at the temple school of Zion. Such a function would
then explain the blending of personal spirituality, personal experience of suffering, the
didactic interest, and the authority to address Israel in admonishment (p. 86).
34. E.g. H. Graf Reventlow, Liturgie und prophetisches Ich bei Jeremia
(Gutersloh: Mohn, 1963) on the 'Jeremiah-confessions' as expressions for the cult
prophetic function of intercession.
4. Psalms 27 and 26: Actualization of the Paradigm
141
such a case, the I would have a representative function, his autobiography relevant for the collective fate.
Because of the connection between different phenomena within disparate texts—some of them touched upon in this study—such a model
would have to include a wider background of representative functions.
Thus, to Eichhorn, a number of I-psalms which apply the concepts of
Yahweh as 'Pels, Burg und Zuflucht', reflect the professional problems
of an oracle receiver in connection with some national crisis. The I of the
psalm represents a personal crisis immediately connected with the collective one. The personal confession of Yahweh as 'Pels, Burg und
Zuflucht' or the prayer that Yahweh should manifest as such in the personal crisis, reflects the function of mediating the revelation of Yahweh
as the 'Pels, Burg und Zuflucht' of the people. The close relationship
between the fates of the mediator and the collective which this understanding entails is seen as dependent on the ancient Near Eastern concepts of sacral kingship. This entails the idea of democratization, with the
individual psalms reflecting the roles of the king, the cultic prophet, the
levitical temple-singer, the levitical Prediger, and the torah-observing
teacher of Wisdom. Common to these roles is the function of mediating
the revelation of Yahweh of Zion.35 The common function can also be
related to the Moses tradition, with the cult professionals defining themselves as holding a 'Mittleramt in der Tradition des Mose' ,36
Against such a background, the highly individual autobiography—by
necessity not confined to texts with the concepts of 'Pels, Burg und
Zuflucht'—would be relevant for the collective fate, even if the collective is not textually present as, for example, an addressed 'You'.
Both Beyerlin's ideas on the 'wise Psalmist' and Eichhorn's on the
'cultic mediator' are significant in pointing to two socio-religious settings
which could illustrate the possible implications of the I-texts as reflecting
some type of religious practice. The composition of the I-psalms suggests
that the I does not represent a literary device of identification, but reflects
a biography presented in ideological terms as an expression of the paradigmatic fate. Thus, when applied to an explicit or implicit You in admonishment, the addressee is implicitly related to a biography for imitation
and identification. This raises the question of some religious environment
in which such emphasis on personal categories could be central.
Both in the case of the Hebrew Wisdom school and Prophetic
35. GottalsFels,pp. 123ff.
36. GottalsFels,p.Sl.
142
Between Sheol and Temple
institutions we are concerned with institutionalized milieus centred round
personal experience of religious phenomena. Also, for both types of
institution, the personal experience was connected to function and thus
relevant to the recipients of instruction or the divine word. While the I
could not be qualified as 'wise' nor as 'prophet', these two types of
institution demonstrate that phenomena comparable to the characteristics of the I-psalms were found important enough to be given institutionalized expressions in the contemporary environment.37
Moreover, the I-figure could have been relevant for both types of
religious practice. As expression of a general religious paradigm applicable
to any type of biographical background and function, the I is relevant to
descriptions of Moses and Elijah, the Old Testament version of the
Wisdom teacher, as well as to more modest fates.
The emphasis on the individual biography as actualization of the
paradigm could be connected with the genre of biography as a whole in
Old Testament literature. Obviously, the presentation of the individual
fate must have been of tremendous importance to generate such a vast
body of literature.
This interest is perhaps best illustrated by the final composition of the
Pentateuch. Whereas the redactional interest may remain rather elusive
for a precise description of some definite theology,38 the extensive biographical content is plain to see. And while the biography of Moses,
aside from the introductory chapters, is given to ideological materials,
the very concrete and seemingly mundane character of the stories of
Genesis 12-50 is remarkable. For an earlier stage of Pentateuchal criticism, this character could automatically be related to the stories as
historical traditions, reflecting the ancient nomadic past. But when
understood as rather late hagiographical writings—possibly even with
fictitious heroes39—the emphasis on normal human events related to
expressions of divine activity is strange indeed. Whatever their meaning,40
37. Due to the spatial and temporal confinements it is even possible to suppose
that this environment was more uniform than usually thought. Thus the convergence
of traditions illustrated by Beyerlin's author of Ps. 131 as an amalgamation of
Wisdom teacher and Psalm specialist is parallel to the supposed connection of
prophetic associations and temple singers, usual since S. Mowinckel, Psalmenstudien.
III. Kultprophetie und prophetische Psalmen (Videnskapsselskapets skrifter. II,
Hist.-filos. klasse; Kristiania: Jacob Dybwad, 1923).
38. E.g. Whybray, The Making of the Pentateuch, pp. 221ff.
39. The Making of the Pentateuch, p. 240.
4. Psalms 27 and 26: Actualization of the Paradigm
143
the application of the central biographical motifs of the stories must
reflect a special theological understanding of the biography as a basic
vehicle for religious communication. The biography is the literary mode
for a general theological description of divine manifestations.
It is natural to relate this understanding to the parallel interest of the
Wisdom tradition, especially as crowned by the books of Job and
Qoheleth.41 The Joseph stories give a sure illustration of the significance
of Wisdom to the Genesis stories.42 The applications of the motif structure of the I-psalms in Psalm 73 and Job both demonstrate the significance of the ideological language of the I-psalms and provide a background for the connection of this language with biographical experience.
It is generally acknowledged that both texts express some kind of theological conflict between ideological language and life experience, the
relationship of Psalm 73 to Job understood to indicate a gradual development of critical distance—with Qoheleth as the ultimate work.43 Given
the requirement to relate the personal biography to the religious
paradigm as characteristic for the religious tradition of the I-psalms,
these sapiential texts could be understood as special applications of the
traditional piety—representing enlargements of special aspects of the
religious tradition.
2. Psalm 26
a. The Psalm as a Whole
Depending on which parts are emphasized,44 this psalm has been associated with different situations. The concluding prayers of vv. 9ff. must
40. E.g. Clines, The Theme of the Pentateuch;Hauge, 'The Struggles of the
Blessed'.
41. Cf. Whybray, The Making of the Pentateuch, pp. 238ff. on Job and the
Genesis stories as parallel expressions of a learned interest in folktale figures as
archetypal persons, 'begun with the Exile' (p. 239).
42. Not only as an isolated 'novella', but with a biographical structure which
closely corresponds to the compositional development of the other biographies,
Hauge, 'The Struggles of the Blessed'.
43. To the theological significance attached to such a split related also to I-psalms
W. Brueggemann, 'From Hurt to Joy, From Death to Life', Int 28 (1974), pp. 3-19,
further developed in 'Shape for Old Testament Theology I' and 'IF; and more
concretely Broyles, The Conflict of Faith.
44. The rendering of the tenses of the verbs in the first person is in this psalm
especially problematical. Craigie, Psalms 1-50,pp. 222-23, consistently regards the
144
Between Sheol and Temple
obviously be important to the psalm as a whole, pointing to the I in a
situation of crisis, his life at peril:
Do not take away my soul together with the sinners,
my life with men of blood
who have wickedness in their hands, whose right hand is full of bribes.
But I, in sincerity do I walk.
Ransom me! Have mercy on me!
My foot stands on level ground. In the assemblies I bless Yahweh.
With the emphasis on vv. 9ff., given the absence of enemy motifs, the I
could very well be seen to be in mortal danger due to sickness, which
has been the usual interpretation since Gunkel.
But if vv. 9ff. are held together with the introductory prayers in vv. 12, judicial categories might serve as a framework for understanding:
Judge me, Yahweh! for in sincerity do I walk.
In Yahweh I trust, I do not totter.
Prove me, Yahweh! Test me! Try my kidneys and my heart!
Moreover, vv. 3ff. could be related to the preceding prayer as protestations of innocence:
For your grace is before my eyes. I walk in your truth.
I do not stay with empty men, with dissemblers I do not meet.
I hate the assembly of the evil. With the guilty I do not stay.
I wash my hands in innocence so I can walk round your altar, Yahweh,
to proclaim with sound of praise, to tell all your wondrous deeds.
Yahweh! I love the dwelling of your house,
the place which is the place of dwelling for your glory.
Thus, the psalm could reflect a situation of ordeal, vv. 4ff. refuting false
accusations by an oath of innocence, perhaps with references to some
ritual background illustrated by Deut. 21.6, the whole psalm a Gebet des
Angeklagten.45
perfect forms as referring to the past, the imperfect forms rendered as 'I will'. Another
solution has been sought in the supposed underlying ritual agenda, e.g., Schmidt,
Psalmen, p. 47, and Kraus, Psalmen, p. 214, who translate vv. 1-5 (Schmidt also
v. 11) as referring to the past, vv. 6ff. to the present; and further Vogt 'Psalm 26, ein
Pilgergebet'.
45. Schmidt, Psalmen, pp. 47-48, with vv. 4-5 as 'Reinigungseid' parallel to
Pss. 7.4-6, 17.3-5 and connected to 1 Kgs 8.31, the I in this psalm accused of
sorcery. Verse 12 together with 6b-8 reflect the thanksgiving rites taking place after
the divine judgement. Cf. also Taylor, Psalms, pp. 140-41 (finding the motifs of the
oath intended for use for several types of crime); Kraus, Psalmen, p. 216; Beyerlin,
Die Rettung, p. 119 (with apostasy for crime); Dahood, Psalms I, p. 161 (with
4. Psalms 27 and 26: Actualization of the Paradigm
145
The judicial motifs could be related differently to other parts of the
psalm. Even given a context of accusations, the psalm could be referred
to other laments and thus to a normal situation of prayer. Thus, the
psalm could reflect a preparatory situation as an ordeal for purification.46 Or the judicial frame could be connected to the negative attitude
of the I towards the evil, and together with the emphasis on motifs of
bribery, suggest the I as the royal judge. With this function, he could be
in a situation of general national danger.47 Alternatively the protestations
of innocence related to the divine testing and some frame of crisis could
refer to rites of renewal of the royal function.48
However, these models tend to disregard the 'expressions of delight in
worship and the presence of God' ,49 Such motifs could even be emphasized as the main expressions of the situation of the I in this psalm. Thus,
it is natural to connect vv. 4-5 to Psalms 15 and 24. Together with the
categories of ordeal, these verses could point to the cultic background of
entrance liturgy, linked with one of the great pilgrim festivals. The
opening statement in v. 1 could presuppose priestly questions connected
with admission to the temple, prior to participation in worship. To such
an understanding, the declaration of innocence has the function of
qualification for admission.50
The formal composition of the psalm is characterized by a four times
idol-worship for crime); Ruppert, Der leidende Gerechte, pp. 7, 26.
46. 'Reinigungsordal vor der eigenen Bitthandlung'; Gerstenberger, Der bittende
Mensch, pp. 130ff., with vv. 7 and 11-12 as 'Lobgeliibde'.
47. In a 'psalm of protection', Birkeland, Die Feinde, p. 298; Mowinckel, Psalms
I, p. 220.
48. While Eaton, Kingship, p. 86, concludes that the psalm not should be used as
basis for the description of the royal function during the autumn festival, Croft, The
Identity of the Individual, pp. 90-91, relates it to Pss. 17, 7, 5, and 139 as an
expression for the king being prepared for a cultic role similar to the royal rites of the
Akitu-festival.
49. Rogerson and McKay, Psalms 1-50,pp. 117-18, with Pss. 5 and 27 for
parallels. The hand-washing of v. 6 is seen as a metaphor for 'spiritual preparation'
corresponding to 73.13; cf. more concretely Ridderbos, Psalmen, p. 207.
50. Especially Vogt, 'Psalm 26'; also Craigie, Psalms 1-50, p. 224, and generally
to such categories Bentzen, Jahves Gcest. To Vogt, 'Psalm 26', p. 336, referring to
the ideas of von Rad and Zimmerli, the crisis of vv. 9ff. is related to the ritual of
admission. Non-admission into the temple, in the form of a negative verdict by the
priests, would mean separation from the source of life. Similarly also Dahood,
Psalms I, p. 162, with the accused in an ordeal of acceptance or banishment related to
the temple.
146
Between Sheol and Temple
repeated pattern of prayers (vv. la first sentence, 2, 9-10, and the conclusion of 11) immediately followed by I-forms of a descriptive nature
(in vv. 1, 3-7, 11, 12).51 In vv. 1 and 3, the I-forms are connected to the
prayers by the fcz-element.
The relationship of prayer and the two first I-forms is obvious due to
the motif connection: the I prays for the divine judgment, while the following motivation gives a qualification of the I as prepared for the divine
examination (cf. above to the suggestions of some type of ritual ordeal
or examination). The other I-forms could also be related to such a function. Verses 9ff., in a formal pattern of prayers and I-forms, are naturally
seen to be a continuation of the earlier parts. The I-sentence of v. 11
repeats that of la, save for the imperfect form of the verb, and must
have a corresponding function. Moreover, the introductory sentence of
v. 11 contrasts with the description of the evil in v. 10 which expands
the negative nominal qualifications of the evil in the prayer of v. 9.52
Against this background v. 12, following the preceding prayer, can be
expected to function as a self-qualification in a parallel relationship to the
preceding prayer. This is also supported by the motif connection
between the I as not tottering (v. 1) and his 'foot standing on level
ground' (v. 12a),53 while the motifs of 12b correspond to the temple
motifs of, especially, vv. 7-8.
In this way, the psalm is a simple composition with a repeated pattern
of prayers for divine intervention connected with self-qualifications.
Divine intervention—and correspondingly the situation of the I as supplicant—is expressed by parallel motifs of Yahweh as judge, 'examiner',
'not-killer', redeemer and favourable. These motifs might reflect some
51. Cf. especially Ridderbos, Psalmen, pp. 206ff., on the psalm consisting of
'Bitten, Beteuerungen der Aufrichtigkeit' and' AUsserungen der Erhorungsgewissheit'
(w. Id, 12).
52. For the construction of vv. 9-10 with negative nominal qualifications of the
evil in the prayer, expanded by a qualifying 'a&er-sentence, cf. Ps. 140.2-3, 5-6 and
further also the link of prayer and negative qualification 140.9, 36.12-13,43.1, 27.12.
53. Cf. Vogt, 'Psalm 26', p. 337, on the possible connotations of the motif 'stand
on level ground' in the context, with the emphasis on its metaphorical function as a
qualification of the I as 'righteous'. The motif surely must be rich in connotations. In
the present context it is natural to relate the concluding v. 12 to the introductory v. 1
(cf. also Ridderbos, Psalmen, p. 206; and Dahood, Psalms I, p. 163). Together with
non-md'ad related to bdtah fcf. especially Ps. 62), the two motifs refer to the same
basic imagery of 'Firmly going/standing', with an implicit motif of falling for
contrast (cf. below).
4. Psalms 27 and 26: Actualization of the Paradigm
147
line of events, with, for example, an act of divine examination related to
more direct acts of intervention into some kind of crisis. The different
models of understanding mentioned above—all in different ways related
to textual observation—illustrate the possible connotations of the motifs
connected with some hypothetical biographical/ritual events. But given
the parallel relationship of the prayers in this text, it is natural to understand the motifs to reflect aspects of one act of divine intervention.54
And the situation of the I, in the text, must correspond to the requested
intervention. The category of judgment or ordeal implies both examination and crisis.55 The I threatened with death at the hands of Yahweh
(v. 9) is the most obvious reference to what it is all about.
Similarly, the self-descriptions must basically have a parallel function.56
Connected with categories of ordeal, they can only have sense as
expressions of some ideal. Be it with regard to a particular accusation of
some crime or to some life crisis which is translated into judicial categories, to admission into the sanctuary, or to some more ideological
application of the motifs, the I is defined according to some notion of
how man should be in such a situation.57 Aside from the references to
the evil, this notion is expressed consistently in first-person forms. The
self-descriptions clearly define the I as the embodiment of some
paradigm.
b. The Self-Qualifications
The I as ready for divine examination is expressed by four parallel selfdescriptions. Their close relationship is demonstrated by the motif devel54. Ridderbos, Psalmen, p. 207, understands vv. 9-11 as the concrete prayer to
which the poet 'bahnt...sich den Weg'. On the other hand, the Judgment prayer is
the comprehensive one, while the other prayers express the different 'Elemente des
"Richtens"'.
55. The notes above illustrate how the different models of understanding reflect
these aspects, usually with a tendency to give preference to the one above the other.
56. Cf. especially Ridderbos, Psalmen, pp. 206ff., simplifying the function of
these forms as 'Bitten, Beteuerungen der Aufrichtigkeit' (vv. Ib, c, 3-8, 11 a) and
'Aiisserungen der Erhorungsgewissheit' (vv. Id, 12, the latter in b as 'das Geliibde
eines Dankliedes'). On the other hand, the separation of the I-forms into these types
of function could reflect that such categories imply unsatisfactory analytical tools.
This is demonstrated by the peculiar separation of v. 1, with d isolated from b and c as
expressions for different kinds of function.
57. Cf. especially Vogt, 'Psalm 26', p. 331, on Ps. 26 as a 'Gegenstiick zur
priesterlichen Weisung, die wir aus Ps. 15 und 24 kennen'.
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Between Sheol and Temple
opment based on the imagery of the I as walker (vv. 1,3, 11).
In vv. 3-8, the introductory v. 3 describes the I as walker, while the
main part relates the I to the temple as the dwelling of Yahweh. But the
temple motifs are introduced by negative statements in vv. 4-5 of the I
as 'not-staying'. Given the relationship between vv. 3 and 4, it is natural
to see the repeated yasab (4a, 5b) in negative continuation of v. 3: the
walker does not settle. With a verb of movement describing even the
temple relationship, the I depicted in circumambulation (6b), also vv. 6-7
could continue the basic imagery of walking / not-staying.
The sentence of motivation in v. 11 repeats the walking motif, while
the final motivation of v. 12 combines the motif of 'firmly standing'
with a motif on the I as related to Yahweh (berek). In this way, the two
final self-descriptions in vv. 11 and 12 correspond to the motif combination of the introductory motivation, with the I as walking, as 'nottottering', and as related to Yahweh.
The subtle variations of the basic imagery must be important for the
psalm as a whole, and stress the parallel function of the I-forms in the
composition. The relationship between these statements clearly points to
vv. 4-8, related to the rest by the introductory v. 3, as central for the
composition. This part is dominated by temple motifs. Verses 6-7 must
have a background in rites. But the different models of understanding
demonstrate that the relationship between textual expression and ritual
background is uncertain. In any case, the function of these verses must
be found in connection with the context.58
Verses 6-8 form the positive contrast to vv. 4-5. This juxtaposition is
also stressed by the motifs of hate (v. 5) and love (v. 8). 'I do not stay
etc.—I hate' is the negative part of the self-description 'I wash my hands
etc.—I love'. These statements involve the I as related to two contrasted
types of locality. Temple orientation is juxtaposed to staying 'im the evil.
Together the two statements must explain what is contained in the
introductory v. 3, with vv. 6ff. a concrete description of the I as a
sincere 'walker'.
58. Cf. e.g. Vogt, 'Psalm 26', translating the I-forms of vv. 1, 3-5 in the past
tense as expressions for a series of 'gute Eigenschaften' (p. 330), while vv. 6-8 are
understood to express what the admittance-seeking pilgrim wishes to do in the actual
situation before the temple gates (p. 331). Similarly also Craigie, Psalms 1-50,
pp. 225-26: vv. 2-5 represents 'prayer' and 'affirmation', while vv. 6-7 ' declare the
intention of worship'. Verses 6-7 as 'anticipation of entrance makes the psalmist
recall past occasions of entrance, expressed in v. 8' (p. 226).
4. Psalms 27 and 26: Actualization of the Paradigm
149
The use of vv. 4-8 in the context is comparable to the use of the
temple motifs in the texts analysed above. The contrasted love and hate
motifs can be compared to the expressions of deep longing of Psalms 84
and 42 (cf. Ps. 27.3-4). In addition, the contrast of vv. 4-5 and 6ff. corresponds to the contrast of Ps. 84.11 with 'standing at the threshold of my
God' juxtaposed to 'dwelling in the tents of evil' (cf. above to Ps. 42.7).
The I is related to two alternative localities of orientation, choosing
between them. Thus, the self-descriptions refer to categories of confession.
With such a function the temple motifs obviously do not refer to rites
connected with some biographical crisis or any other definite ritual situation, but are used in a general sense for life orientation and denote the
locality of orientation. Even as connected with some serious crisis—as is
the case in both these texts—the choice of temple relationship is presented as an act of confession, and used for self-qualification (cf. above
on the relationship of 27.1-3 to vv. 4ff.). Obviously, the confession to the
temple represents the religiously right choice—taken by the I of Psalm
84 as related to the blessed paradigms of vv. 5ff. and by the I of Psalm
26, presenting himself for divine examination.
This means that the function of the I-forms in vv. 4-8 corresponds not
only to the first-person forms in Ps. 27.1-6 and also Pss. 42.2ff., 43.3-4,
but also to the third-person statements of Pss. 84.5-8, 36.6-10, 140.14 as
applied to the I-forms of the contexts. The relationship extends not only
to comparable function and basic motifs, but seems also to be reflected
in the elaboration of the material. Thus, aside from the material common
to Psalms 84 and 26, we find a peculiar connection between 26.3ff., the
hymnic 36.6ff. and the prayer 43.3-4.
The introductory Pss. 26.3 and 36.6-8a contain central terms which
comprehensively describe the divine reality as related to humankind:
'your grace' and 'your truth' in 26.3, corresponding to the repeated
'your grace' in 36.6, 8 in addition to 'your faithfulness', 'righteousness'
and 'judgments'. And in the first prayer of 43.3 we find 'your light' (cf.
36.10) and 'your truth' (cf. also 27.11 with 'your way' and 'the even
path').
The parallel applications of these terms, related to the following temple
motifs, in texts representing such different formal genres can hardly be
coincidental. In addition, the applications overlap. Thus, the hymnic declaration centred round divine grace in 36.6-8 could be characterized as
an expression asserting 26.3a 'Your grace is before my eyes'. And the
application of the terms in 26.3 and 43.3 refers to the same type of
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Between Sheol and Temple
imagery: the I walking with 'your grace before my eyes' and 'be your
truth' corresponds to the divine 'light' and 'truth' being sent to lead the
I towards the temple (cf. also 27.11 with the I taught 'your way' and led
'upon the even path' and, also, vv. 4ff. on the I brought into the temple
by the divine subject).
In the three texts, these applications are followed by motifs on movement towards and relationship to the temple. Save for the different types
of motif exposition, due to the individual compositional needs, the firstperson description 26.6-8 corresponds to the statements of 36.8ff., while
43.3-4 is dominated by the imperative forms of prayer. On the other
hand, the compilation of terms for the temple, as well as the formal
order of two and two terms in 43.3-4, corresponds to the arrangement
in 26.8. This compilation must have a climactic effect of conclusion. In
all the three cases, the temple forms are ended by sentences formally
differing from the preceding verses (26.8, 36.10,43.4 second line). These
conclusions are all in first-person forms, in different ways representing a
style of elation for describing the personal relationship to the divine
presence in the temple.
This correspondence59 can hardly be coincidental. It demonstrates a
common dependence on given sets of concepts and motifs linked to
specific central terms and must also reflect a common background of
formal tradition. On the other hand, the applications in hymnic form,
prayer and protestation of right confession illustrate the freedom of allusive application.
This combination of stereotypes and freedom is also illustrated by the
other self-qualifications parallel to vv. 3-8. The formally independent
motivations in vv. 1, 11, and 12 together with v. 3 demonstrate statements of parallel significance as short forms of religious self-description.
The introductory location of v. 3 together with the negative and positive
form of vv. 4-8 even suggests v. 3 as the central statement explicated by
vv. 4ff.
•The significance of these short forms as self-contained expressions60 is
illustrated by Psalm 84. The relationship between the three parallel beatitudes vv. 5, 6-8, 13 is comparable to that of the motivations in Psalm 26.
Psalm 84.5 as the comprehensive form is elaborated by the motifs in
vv. 6-8. This corresponds to 26.3 introducing vv. 4ff. And 84.13 has a
59. Cf. also the formally parallel constructions 26.7 and 27.4b on the temple
relationship.
60. Cf. also Pss. 140.13 and 84.12 related to their contexts.
4. Psalms 27 and 26: Actualization of the Paradigm
151
concluding function, its form referring to vv. 5ff., on the other hand
isolated as a self-contained statement.61
The motifs of the self-qualifications correspond to the basic motif
structure. Verses 3-8 illustrate the significance of temple motifs as the
central expression of personal confession. Relationship to Yahweh is
defined as longing for, and on the way to, and in the temple as the place
of a special relationship to the divine presence. While the motifs of way in
separate statements could have general connotations of mode of life or
fate or of Torah-piety, 26.3 related to 43.3 demonstrates the dependence
on given motif sets. I as 'walker' describes the I in movement towards
the temple. On the other hand, the application of the motif in this psalm
suggests its significance as a relatively independent motif. In the other
psalms, motifs of movement related to the temple are usually presented
within a set of motifs which emphasize the significance of dwelling in the
temple (cf. Pss. 42.3, 43.3-4, 36.8, 27.5). Of these texts, primarily 84.6ff.
with references to a miraculous pilgrimage and also the qualifications of
27.11 with a divine guide (cf. also 140.5-6), illustrate that motifs of way
could refer to a cluster of relatively independent connotations.
The composition of the psalm suggests that also the other motifs of
qualification refer to the basic motif structure. The significance of nonma 'ad together with bdtah62 in v. 1 is illustrated by the motif development in Ps. 62.2-8, 9, 11 connected with non-mot and bdtah. The
imagery refers to the contrast between standing/falling. But in Psalm 26,
the context of la, 3 connects the 'not-tottering' to the way motifs (cf.
Pss. 18.37, 37.31). This is comparable to the motif application Ps. 140.56 (connected with a motif of firmly standing v. 12; cf. also 118.13 and
36.13). Here the falling is connected with the activities of the enemies as
'pushing', while in Psalm 26 the not-tottering illustrates the I as the
'sincere walker'. On the other hand, the connection of falling/enemy
attack in Ps. 140.5-6 is interesting as an illustration of the connotative
significance of the two negative statements in 26. Ib and 4-5. Formally
the two statements correspond, as parallel negative self-qualifications
related to positive forms. Ps. 140.5-6 together with 118.13 and 36.13
demonstrate that the formal relationship of the I as 'not-tottering' and as
'not-settling' among the evil also has a connotative background connected
61. 84.13 together with 26. Ib suggest that bdtah is important as a central term for
such short forms (cf. also 27.3b with this verb concluding the introductory vv. 1-3,
preparing the temple motifs vv. 4-7).
62. To the combination of the two words cf. Prov. 25.19.
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Between Sheol and Temple
with the basic concept of evil enemies. This background stresses the
consistent rendering of these motifs in Psalm 26 with the I for subject in
self-qualifications.
A corresponding contrast of falling is also implied in the concluding
v. 12a. The qualification ofmisor is usually connected to way motifs.63
But related to 'standing' and to the motifs of v. 12b, the imagery is
framed by the situation of dwelling in the temple. This can be related to
the self-descriptions of 62.2ff., depicting the I as not-tottering on the rock.
As to function, these motifs as well as those of vv. 4-8 are parallel
expressions of the I as fit for divine examination. Thus, motifs of the evil,
temple, walking, firmly standing etc. are used in self-qualification. The
thrice repeated motif of I as 'wholly walking' obviously is central for the
composition, dominating the application of the other motifs. This corresponds to the formal character of Psalm 26 as a consistent expression of
the volitional aspects of the motif structure. At the same time, the composition also reflects a second type of motif application, round a meticulous development of the I as walking/non-falling, walking as not-settling
among the evil/but entering the temple, walking and finally standing
(/not-falling).
The significance of this subtle motif development can be illustrated by
Psalm 23. For the composition of this psalm, the obvious formal characteristics of the two parts are connected with a basic motif exposition centred round introductory motifs of way and concluding motifs of dwelling
in the temple (cf. above). Psalm 15 could be an even more interesting
parallel, due to the relationship of third-person qualifications and temple
motifs corresponding to the I-forms of Psalm 26.64 In 15.1 (cf. also
Isa. 33.14b)65 dwelling in the temple is the central motif. The following
list of characteristics is introduced by halak (Isa. 33.15). The conclusion,
on the fate of the paradigmatic figure, returns to the situation of
dwelling in the temple. But while Isa. 33.16 refers to the comprehensive
motif of dwelling, Psalm 15 applies the motif of eternal not-tottering.
This corresponds to the conclusion of Psalm 26. The application of this
motif in such contexts must reflect the connotative background of the
motif as connected with dwelling in the temple.66
63. Pss. 27.11; 143.10; Isa. 40.4; 42.16; Mai. 2.6.
64. To this connection Vogt, 'Psalm 26'.
65. The use of verbs of entrance in the parallel Ps. 24.3 must reflect the compositional interest with a concluding presentation of a parallel divine enterer, vv. 8ff.
66. On the other hand, Isa. 33.16 with dwelling and motifs of meal related to a
4. Psalms 27 and 26: Actualization of the Paradigm
153
Given this background, Psalm 26 can be characterized as a literary
elaboration of the basic motif structure. The individual expressions refer
to the connotations of the sacred topography, centred round the concepts of temple with a contrast locality, and of the way. While Psalm 42
seems to define the way as leading from the contrast locality of Sheol to
the temple (cf. the applications in 1 Kings 19 and Exodus 15), the
imagery of Psalm 26 corresponding to 84.11 could relate the way differently to the two localities, the sincere walking possibly interrupted by the
attraction of the negative locality.67
On the other hand, the application of Psalm 26 differs considerably
from those analysed above. Except in what we termed the 'volitional'
aspects of Psalm 84, we have repeatedly noted the character of the I as
consistently passive in these texts, with a corresponding emphasis on
miraculous categories. Not only with regard to God, but also to the
enemies, the I is object for the acts of others. In this mode, the I is
depicted as the sufferer, with the prayer for divine intervention as the
only effort. While the prayer is an expression of the I as confessor, with,
for example, batah for a comprehensive term, the ideal confession as
described in Psalm 27 is that of the ultimate quietist, with the I surrounded by enemies praying for the one thing of temple admission!
Against this background, the activist mode of the I in Psalm 26 is
remarkable. Here, the main motifs are not related to the divine subject,
but to the perfect actualization of the I. The application of the way and
temple motifs demonstrate the significance of the I as active. In 43.3-4
and 27.11, the way is the result of the miraculous intervention, signifying
the way of salvation. In Psalm 26, the relationship to the way is proof
of total commitment. And the temple motifs, which usually express the
locality of a mountain fortress under siege demonstrates the combination of stereotyped language (cf. also the reference to the beatific vision in the You-application
v. 17) and individual expression which seems to be characteristic for the application
of the motif structure.
67. Cf. also Ps. 1 as a further elaboration, contrasting not only the negative and
positive localities (vv. Ib, 5), but also the two ways (la, 6). While the imagery of the
tree and wind-blown chaff could express connotations of dwelling/not-dwelling in the
temple (cf. v. 5 and, e.g., Pss. 52.7,10-11; 92.8, 13ff.; and especially Jer. 17.5ff. with
a motif contrast of tree and dwelling in the wilderness), the verbs of v. 1 express a
subtle development of some basic motifs. Here walking-standing-staying is used for
the fatal attraction of the negative locality. This application, together with the use of
these motifs in Ps. 26, serve for good examples to illustrate the refined literary
character of the tradition in question.
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Between Sheol and Temple
ultimate goal, are in this psalm used in a contrasting mode (cf. Psalm 5,
Chapter 5 below). The application of the evil motif corresponds to this
type of exposition. The I is not the object of their attack, but the notattracted walker passes by their evil dens. The basic motifs of way,
temple, and evil are used for the description of the I as the religious
hero, the perfect embodiment of the paradigm.
This change can hardly reflect a critical valuation of the traditional
application of the other texts. If that were the case, Exod. 33.18ff. would
illustrate that we could expect identifiable expressions of a new understanding. Psalm 26 must reflect the motif structure as applied in a volitional mode.
The application of the motif structure as a whole and as stated corresponds to Ps. 27.1-6. There, temple entrance and stay are expressed in
stating forms. And the functions of the I-forms are comparable, the I
describing himself as the perfect boteah. The main difference between
the two expressions of the motif structure is the consistent motif application in Psalm 26 by sentences with the I for subject. Also, the composition of Psalm 27 is centred in the enemy situation, while Psalm 26 is
dominated by a situation based on the way motif.
The significance of a composition centred around way motifs could be
illustrated by Psalm 84. The relationship of the beatitudes vv. 5-8 to the
I-forms of v. 11 demonstrates the I as an actualization of the given
paradigm, choosing the alternatives of orientation. Thus, Psalm 26 as a
whole could be seen as a composition in I-form parallel to the combination of third-person and first-person forms of 84.5-8, 11. In both cases,
the application of way motifs in the volitional mode is connected with
the absence of enemy motifs.68
In the relationship of Psalm 26 to Psalm 84, the former stands apart
with its consistent application of the main motifs in sentences with the I
68. As illustrated by the discussion Vogt, 'Psalm 26', pp. 328ff., absence or
presence of concrete enemy motifs have traditionally been important for the understanding of the concrete life/ritual setting of the text, the former, for example, to a
situation of sickness, the latter to ordeal or to national distress, e.g., Schmidt, Psalmen,
pp. vi-vii; Birkeland, DieFeinde, pp. 20ff. Correspondingly, the different juxtaposition
of the I / enemies or I / the evil as seducers has been seen as significant, suggesting
development from a ritual and conceptual reality concerned with social categories to a
later, 'spiritualized' type of pious application, e.g., Beyerlin, Die Rettung, pp. 158-59;
Kraus, Psalmen, pp. 3-4. Aside from the applications of Pss. 36 and 5, Ps. 17.3-5
related to vv. 7ff. is a good example of an immediate connection between the evil as
the negative paradigm, corresponding to Ps. 26.3ff., and the evil as enemies.
4. Psalms 27 and 26: Actualization of the Paradigm
155
for subject. This must be linked to the formal character of the psalm as a
whole. The I is surely the confessor, but not addressing the confession to
Yahweh with a function of immediate adoration and worship (cf. v. 8
contrasting v. 5). Instead, the self-descriptions seem to have a function as
argumentative self-qualifications. The relationship to the temple as
'beloved' certainly corresponds to the longing I of Psalm 84. But in this
psalm, the temple motifs of vv. 4-8 are used to qualify the I as not-evil
(vv. 5-6).
A corresponding interest in self-qualification seems to be relevant also
to the other texts. This could be related to the common situation of
prayer, with a basic orientation towards divine intervention on behalf of
the supplicant, with implications of categories of ordeal. Thus, the basic
elements of the paradigm correspond to the other psalms. Aside from
the fundamental £ota/i-relationship to Yahweh, temple orientation is the
expression of the confession, with dwelling in the temple, here as a situation of praise and thanksgiving, as the ultimate aspiration (v. 7).
What makes the composition of Psalm 26 so special is the absence of
enemy motifs. In the other texts—aside from Psalm 84—the I as confessor is linked to his situation of suffering in the hands of enemies, the
enemies consistently qualified as evil. Thus, the description of enmity
and suffering represents in itself a self-qualification of the I presenting
himself for divine judgement. This text represents only the aspect of
evilness of the enemy motif, corresponding to the presentation of the I
as not-evil. This must be linked to the prayer of v. 9, which depicts
Yahweh as the threat to the I.
The function of the self-qualifications, presenting the I as an embodiment of the paradigm, fit for divine examination, is given a significant
expression by the central qualification of 'wholeness'. The I is 'wholly
walking' (la, 11), the total commitment illustrated by the motifs of trust
and not-tottering (Ib) and firmly standing (12a) and by the temple orientation of vv. 4-8 as the expression of the way-motifs in v. 3. Moreover,
the total commitment is internalized, related to 'heart' and 'kidneys', in
addition to the verbs of 'hate' and 'love'. In this way the I is related
both to outer and inner manifestations of the paradigmatic walking.
Implicitly contrasted to forms of 'insincere walking' (cf. especially
Ps. 84.6b on the blessed with 'highways in their hearts'), the paradigm
must also be connected with categories of inner integrity.
On the other hand, this could be related to aspects of the other texts.
Especially for Psalms 84 and 42^-3 (cf. also 36) we have noted different
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Between Sheol and Temple
expressions for a similar interest, while the I of Ps. 27.1-6 could also
serve as an example of perfect confession in connection with the enemy
situation. The expressions of longing for the temple in Psalms 84 and
42^43 witness that the application of the motif structure was also connected with emotional and psychological categories.
Thus, Psalm 26 seems to reflect an elaborated version of the motif
structure, with the composition centred round aspects of aspiration and
striving. This makes this psalm an important example of how the motifs
can be related to religious practice. Psalm 26 clearly demonstrates a
practice of religious commitment including inner emotional and mental
attitudes in addition to outer manifestations. The description of human
inner and outer reality, presented for inspection by the divine examiner,
is totally given to the ideological categories of the motif structure. Thus,
while it is possible to envisage types of usage which could make the
recitation of such a text into, for example, a magical incantation of
appeasement, the very fact of such a composition demonstrates a religious paradigm—which must presuppose some type of practice—
centred round the main motifs, connected with human striving and
experience. The I of this psalm represents an embodiment of the
religious ideal, the ideological motifs translated into personal being.
c. The Prayers
In the four times repeated pattern of prayers and motivations, the motif
connection stresses the parallel function of the motivations. It is natural
to assume a similar relationship between the prayers. Among the motivations, vv. 4-8 stand out as the elaboration of the I as 'wholly walking'.
A similar function with regard to the prayers could also be ascribed to
vv. 9-10:
Do not take away my soul together with the sinners,
my life with men of blood!
who have wickedness in their hands, whose right hand is full of bribes.
This prayer clearly represents an application of the preceding selfdescription. The repeated 'zm-elements of vv. 4a, b, 5b and 9a, b stress
the connection between two situations with the I as not 'together with'
the evil: in the one the I is the subject of separation, in the other
Yahweh. Having separated himself from the evil, Yahweh should not
cause 'togetherness'. In vv. 4-5 the motifs refer to local categories, the
locality of the evil juxtaposed to the temple. The use of 'dsafwiihdivine
subject suggests that also in the prayer, the 'togetherness' alludes to a
4. Psalms 27 and 26: Actualization of the Paradigm
157
locality to which one is brought. With 'soul' and 'life' for objects of the
divine collecting,69 Sheol is naturally the place of 'togetherness'.70 Thus
the prayer presupposes Sheol as the given locality for the evil. This
refers to categories we have found earlier for, especially, Pss. 36.13 and
42.7-8 and for 140.lib, 12. Contrasted to the temple as the wished-for
locality, the negative fate is described by motifs of Sheol/death. The relationship of the I to the negative place in Psalm 26 is comparable to that
of 36.12-13 (cf. also in 140): the I is evidently not localized to the place
of death, but could be 'brought' there, in Psalm 36 (and 140) due to the
onslaught of the evil enemies. Psalms 42-43 show a different type of
motif application, with the I localized to Sheol. But connected with
motifs of way and temple in addition to motifs of the evil, the differences
reflect individual applications of the basic motif structure.
In this way, the motif execution demonstrates a close relationship
between the self-description of vv. 3ff. and the prayer, the former as a
motivation preparing the prayer. This close relationship is also expressed
by the extension of the prayer in v. 10. The hand motifs in the qualification of the evil contrasts with the purification motifs in v. 6a.71 As
not only a non-dweller among the evil, but entering the contrast locality
with pure hands, the I is obviously not-evil and should not be brought to
the locality of the evil by Yahweh!
This connection between motivation and prayer stresses the impression
of vv. 4-8 as an 'active' or volitional application of the motif structure,
with vv. 6-8 forming the positive counterpart to the negative vv. 4-5. On
the other hand, in v. 9 the motifs are applied with the I in the usual passive mode, his fate dependent on divine intervention. In this way, the
function of the volitional self-qualifications related to a situation of
prayer must be comparable to, for example, the pattern of selfdescriptions and prayers in Psalm 27. In both cases, the basic motifs of
the motif structure are stated and then related to prayers which apply
the motifs in the subjunctive mode, connected with the miraculous categories of divine intervention.
As to contents, the prayer of v. 9 corresponds closely to that of
Ps. 36.12-13. The two texts differ as to the subject of the I's movement
towards the negative locality: 26.9 with Yahweh as potentially bringing
69. With Yahweh for subject and life/soul for object cf. especially Ps. 104.29 and
Job 34.14; further also 2 Kgs 22.20 with 'you' for object.
70. Cf. especially Ps. 88 with a combination of Sheol and 'togetherness' motifs.
71. E.g. Isa. 1.15ff. with corresponding motif contrasts.
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Between Sheol and Temple
him into Sheol, 36.12-13 with the enemies doing that. But common to
the two prayers is the imagery of the I brought into Sheol as the locality
of the evil.72 And in both cases, the movement towards Sheol is qualified as the fate of the evil: in 26 by the motif of togetherness, in 36 by
the general description of the locality as the place of the evils' falling.
The application of the motif structure in an active and passive mode
also suggests that the negative locality—correspondingly also the positive
locality—can have two functions in these texts. The prayers of Psalms
36 and 26 qualify the negative place as an expression for the fate of the
evil, with connotations of retribution and punishment. As the place of
death, the negative place stands for defeat and failure and terror. This
corresponds to the use of the way and temple motifs in most of the
texts, with the temple as the place of longing and aspiration, and
dwelling in the temple as the fate of the paradigmatic righteous, connected with divine intervention and ha>sced.
But the applications of Ps. 84.11 and, especially, Ps. 26.4-5 define the
negative locality as a place of attraction and temptation, marking the
alternative to longing for the temple. Also in this case, the motif applications presuppose that the negative place of attraction and staying is
inhabited by the evil.
The relationship of vv. 4-8 and 9 in Psalm 26 demonstrates that the
two types of application are closely connected as two aspects of one
concept. Also the relationship between Ps. 42.7 and 8 could reflect this
connection. On the one hand, the verses are parallel descriptions of the
I's localization, on the other hand the motifs of v. 7 refer to connotations
of revolt, of v. 8 to categories of suffering and divine punishment.
d. Conclusions
Psalms 26 and 27 represent interesting applications of the motif structure. In both cases the central motifs of I contrasted with the evil and
connected to local categories of temple/Sheol and way, form the
thematic basis of the individual composition, both with regard to material and to structure. And at the same time, the exposition reflects the
72. Cf. above to Pss. 42-43 which refer the suffering of the I both to the categories of divine punishment (v. 8) and to the enemies. The connection between the
two modes of description is illustrated by the narrative forms of Ps. 118.5, 13-14, 18.
In the parallel descriptions of the crisis and the salvation, the crisis is related to
different types of situation. I in confinement, Yahweh as 'punishing not completely
unto death', and You as 'pushing unto falling' express different aspects of the crisis.
4. Psalms 27 and 26: Actualization of the Paradigm
159
literary freedom of application, Psalm 26 elaborating way motifs, 27
motifs of dwelling in the temple.
The compositional development of both Psalms 26 and 27 repeats the
basic motif structure, partly in a series of statements, partly in references
in the prayers. This corresponds to the other texts, with the prime difference being that the statements in Psalms 26 and 27 are expressed in the
I-form. In all the texts, the prayer situation is presented as an actualization of the paradigm. The motif structure stated in first-person forms has
a function parallel to the third-person statements as expressions of the
paradigm. Such a background, with the third person statements as the
basic type of expression, could be reflected in the relatively independent
character of the self-descriptive statements in the context. With Ps. 27.16 often isolated as an independent psalm, and the four times repeated
self-qualifications of Psalm 26, the special formal character of the motif
structure as stated is underlined. Also, the special motif application, with
dwelling in the temple stated and even used for self-qualification, while
the prayers refer to a crisis and thus to a situation of 'not yet' prior to
the climax events of the motif structure, must reflect that statements and
prayers employ different types of application.
The special character of the paradigm connected to I-forms is demonstrated by the mode of application. The normal application of the motif
structure in connection with the prayer situation stresses the significance
of miraculous categories, with the I presented as the passive sufferer and
supplicant. But as the perfect confessor in Ps. 27.1-6 and the total walker
in Psalm 26, the motifs serve for the self-qualification of the I (cf. also
92.13ff. on the fate of the righteous compared to the self-qualification of
52.10-11). This type of application dominates Psalm 26, with the basic
motifs presented not with a divine, but with a human, subject. Compared
to the usual type of application, the self-qualifications of this psalm present the motifs in what we could term a volitional or active mode. But
the prayer situation of this psalm reverts to the basic mode of divine
intervention.
In this way, the I of these two psalms is presented as an embodiment
of the paradigm. This character can also be illustrated by the texts' relationship to other texts. As we have seen, Psalm 26 can be related both
to the beatitudes of Psalm 84 and to the proclamation of admittance
rules in Psalm 15. And the fearless confessors of Pss. 27.1-6 and 23 can
be seen as the perfect realization of the holy war admonishments of, for
example, Exod. 14.13-14 or Deut. 20.Iff. aside from the bourgeois ideal
160
Between Sheol and Temple
of Ps. 112.5ff. The connection between the motif structure as stated in
first- and third-person forms can be compared to the relationship of
Ps. 52.10-11 and Ps. 92.13ff. In both cases, the positive ideal is contrasted to a negative paradigm, 52.8-9 concluding the You-description of
vv. 3-7, and 92.8. Either as a saddtq-saying related to I-forms in Psalm
92, or as a contrasting self-description in I-form stated by the saddiqim
in Psalm 52, the motifs clearly represent the paradigmatic figure.
In this way, Psalms 26 and 27 add to our understanding of the Ifigure of the other texts. Psalm 26, related to Psalms 84 and further 52
and 92, also demonstrates that the positive paradigm of the 'righteous'
is balanced by the evil—with rasa' for the obvious contrast term—as
the negative one. The category of 'evilness' is characteristic for the negative figures, applied either as mortal enemies or as figures of attraction.
In both cases, their function is identical within the motif structure,
negating temple relationship, relating the I to Sheol.
Fundamentally, the I of these texts is presented as a being in between
the paradigmatic figures. Even as orientated towards the positive ideal,
the I in the prayer situation is evidently given to the negative fate save
for divine intervention. This must be basic to the function of the motif
structure, as even the perfected heroes of Psalms 27 and 26 share the
same type of crisis with those of the other texts. Even as the 'total
walker' led by the divine light, the hero of Psalm 26 can be brought to
the 'togetherness' of Sheol, with prayer as the means of avoiding the
negative fate. In this way, the two psalms with their special character
stress the importance of miraculous categories for the motif structure.
Whatever the exposition, these texts are dominated by a basic structure
of ultimate goal/non-goal which is unattainable/given depending on the
divine intervention. The divine manifestation is an integral part of the
paradigmatic fate.
Psalms 26 and 27 also support the impression of these texts as
expressions of ideological language. The basic motifs are determined by
a function of general religious interpretation, providing terms and ideological coherence for the religious description of human reality.73 The
textual shape and the motif execution of Psalms 27 and 26 stress the
significance of the basic motifs as parts of an ideological language. In the
73. For a traditional conceptual frame for such categories cf. especially Mowinckel,
Psalms, II, pp. 18ff., 126-145, with a contrast of 'traditional' and 'personal' language,
the former dependent on cultic function, the latter connected with categories of
individual experience, emotion and poetical inspiration.
4. Psalms 27 and 26: Actualization of the Paradigm
161
present textual frame, their function is not dependent on an accompaniment of parallel ritual experience in the traditional sense. As expressions
of life orientation, they describe the reality of humankind interpreted in a
set of religious concepts. The applications of the temple motifs in Psalms
52 and 92 related to 26.4ff. (cf. also above to 27.1, 13) even suggest that
a relationship to a physical temple could be completely irrelevant for the
realization of the ideological language, with dwelling in the temple as an
expression for a special state of being.
On the other hand, such applications do not, of course, exclude levels
of interpretation and application connected with real-life temple institutions. Given the ancient connotations of Near Eastern concepts of the
temple,74 the 'temple' being part of a 'symbol system' in the sociological sense,75 it is possible to surmise a type of ideological language
dependent on and presupposing actual contact with physical temples
both as buildings and as institutions. In our context, the emphasis on the
ideological character of the language refers mainly to the traditional
models of understanding for texts like Psalms 27 and 26, and thus to the
need to ponder alternative settings for the production and original function of these texts.
Thus, while the texts could have some relationship both to historicalbiographical and ritual reality, as envisaged in the usual models of understanding, the motif application suggests a basic character of ideological
language. However, it must be important that these texts relate the ideological language to biographical experience. The very fact of I-forms in
connection with the paradigmatic language, in addition to the situation of
prayer connected to a crisis defined by the ideological categories, points
to such a connection as basic for these Psalms.
In this respect, Psalms 26 and 27 are of special importance. In both
texts, the self-qualifications link ideology and biography through the
person of the I as the embodiment of the ideal figure. In addition, the
relationship between statements and prayers in Psalm 27 could directly
reflect a relationship of paradigmatic crisis and some life crisis as interpreted within the categories of ideological language. But it is especially in
Psalm 26 that ideology and biography seem to be closely linked. Here,
the idea of a totally integrated paradigm related to the divine examination of heart and kidneys indicates a close connection between ideology
74. E.g. Tromp, Conceptions of Death, pp. 205ff.; Clifford, The Cosmic
Mountain.
75. Geertz, The Interpretation of Cultures; Ollenburger, Zion the City, pp. 19ff.
162
Between Sheol and Temple
and biographical reality. For the argument of the psalm to be effective,
the I must be the ideal figure, bearing in his own flesh and blood
the characteristics of the saddtq, both 'heart' and 'hands' expressing his
total devotion.
Such a qualification must refer to a practice of religious observance,
connected both with mental and emotional categories. Similarly, the I of
27.1-6 must at the very least be intended to describe a state of religious
enthusiasm and emotional fervour. In these texts, biographical and ideological language seems to be identical. And a concept of an 'ideological
biography' would indicate a setting of religious observance committed
to the internalization and integration of the paradigm. When related to
similar findings in the other texts, both Psalms 26 and 27 could mirror
the experiences of a religious milieu in which the motif structure represented a conceptual vehicle of religious practice and inner development.
Thus, the heroes of, for example, Psalms 27 and especially 26 suggest
rather perfected actualizations compared to the I of, for example, Psalms
42/43 and especially 36.
This would imply that the qualification of the language of these texts
as 'ideological' only covers certain aspects. The application of the motif
structure in Psalms 26 and 27 above all points to an interest in religious
practice, concerned with the internalization of the religious paradigm in
biographical experience expressed by the I as mental-emotional-physical
integrity.
Such an interest could also be related to indications of these texts as
expressions for an interest in admonishment. Thus, the relationship
between Ps. 26.3-8 and 9-10 provides an elegant, rather subtle argument
for a situation of prayer totally given to the experience of crisis and
supplication before God. But the I presented to others as a paradigmatic
figure for identification, with a corresponding emphasis on the selfqualifications for imitation and identification, would make such expressions natural. Both the rather assured self-description and the rhetorical
subtlety of the prayer would correspond to a function of indirect admonishment, comparable to, for example, the third-person beatitudes of
Psalm 84.
Chapter 5
PSALM 5: THE STRUGGLE TO DWELL IN THE TEMPLE
1. The Psalm as a Whole
With the introductory invocation in vv. 2-3a and the prayers in vv. 9
and 11, Psalm 5 is traditionally recognized as an individual lament. Verse
4 is usually understood as a reference to a morning sacrifice.1 Thus, the
psalm could generally be connected to a cultic situation in the night
before or during the morning sacrifice.2
On the other hand, the absence of complaints seen together with
forms which could be understood as protestations of innocence (vv. 5ff.)
related to enemy motifs, could suggest that this psalm reflects a more
special setting, 'drak, v. 4b, understood as a sacrificial term, together
with sippd3 could refer to divinatory rites of omen or Schauopfer.4
1.
With'ara/c as a technical term for sacrificial preparations. On the other hand,
Dahood, Psalms I, p. 30, understands the verb as a technical reference to forensic
categories, 'draw up my case'. Correspondingly, also v. 6a is understood to refer to a
situation in law court comparably to Job 33.5 (p. 31). The parallel verbs and nouns
connected with the I in the context vv. 2-4, stressed by the motifs of the contrast
description v. 10 (cf. below), suggests that the verb refers to a situation of prayer.
2.
Weiser, Psalmen, pp. 76-77; Taylor, Psalms, p. 37; Rogerson and McKay,
Psalms 1-50, p. 30, the latter referring to Ps. 17 for a close parallel.
3. This is understood by Delekat also, Asylie, p. 57, as a technical sacrificial term
'auftischen'. But as argued by Kraus, Psalmen, p. 39, the usage should be related to
Mic. 7.7 in the context of vv. 7-10 and Hab. 2.1 with closely parallel usages: watch,
observe. Parallel to hohil, Mic. 7.7, the I as 'watching' in connection with a situation
of prayer corresponds to the use of qiwwa, Ps. 27.14 and hohil, Pss. 42.6, 12,43.5.
4.
Cf. especially Mowinckel, Psalms II, p. 54, emending the second boqcer,
v. 4b, to biqqer corresponding to Ps. 27.4b, understood as a technical term for
divination; Delekat, Asylie, p. 57; Gerstenberger, Der bittende Mensch, pp. 149-50.
While this understanding seems rather uncertain in view of the context of vv. 2-4 with
parallel terms pointing to a general situation of prayer, such a situation implies eo ipso
some type of divine manifestation. Either as intimately connected with sacrificial rites
164
Between Sheol and Temple
Connected to such a setting, the psalm could reflect introductory rites
preparing the real prayer ritual.5 Or the divination could point to a judicial
situation, the I accused by slandering enemies (cf. v. 10 immediately
connected with the enemy prayer, v. 9), bringing his case before the
divine judge in some kind of ordeal situation.6 Or, given the absence of
complaints and what is understood as a lack of motifs for an actual
conflict, the psalm could refer to protective rites of a more general
nature, with a setting prior to any conflict or battle.7 With emphasis on
vv. 5ff. as protestation of innocence and connected to a royal I, the
psalm could be related to similar royal protestations of the Babylonian
Akitu-festival, reflecting a ritual of renewal of the royal function.8
With a basis in textual phenomena, these proposals as to setting and
application are equally plausible as to what might have taken place in the
original situation of application and reflect equally aspects of the textual
situation. In our connection, in a context of Psalm 26 related to the other
I-psalms, the combination of self-qualification and enemy motifs is interesting. Psalm 26 lacks enemy motifs and is characterized by special selfqualifications. Related to, for example, Psalms 15 and 24 traditionally
regarded as expressions for a situation of examination referring to
specific religious virtues connected with temple entrance, one could isolate Psalm 26 from the normal enemy psalm.
In this respect, Psalm 5 is important. It is decisively linked to Psalm 26
and texts like Psalms 15 and 24, being dominated by the interest of
admission to the temple, and also to the enemy motifs of the other texts.
Further, the execution of the temple motifs in this psalm, with the evil
related to dwelling in the temple, provides a significant link between
Psalm 5 and Isa. 1.10-209 and Jer. 7.1-15, thus supporting the generally
(e.g. Num. 23!) or not, the I is praying for a miraculous intervention of guidance
(v. 9).
5.
Gerstenberger, Der bittendeMensch, pp. 149-50, the relevant rites characterized
as 'Befragung des Propheten oder Priesters' or as purificatory rites (pp. 148-49).
6.
Schmidt, Psalmen, pp. 9-10; Kraus, Psalmen, p. 37; Delekat, Asylie, p. 57;
Beyerlin, Die Rettung, p. 90; cf. also Ruppert, Der Leidende Gerechte, p. 37, and
Dahood, Psalms I, pp. 29-30.
7.
As a 'protective psalm', Birkeland, Feinde, pp. 104ff.; Mowinckel, Psalms I,
p. 220, both with the I as a representative figure; and Craigie, Psalms 1-50, p. 85.
8.
Croft, The Identity of the Individual, p. 90, relating the psalm to Pss. 26, 17, 7
and 139, further Eaton, Kingship, pp. 64-65.
9.
From the traditional form-historical viewpoint vv. 10-17 and 18-20 are
independent units in a secondary composition, e.g., H. Wildberger, Jesaja. I. Jesaja
5. Psalm 5: The Struggle to Dwell in the Temple
165
accepted1 linkage between these prophetic texts and Psalms 15 and 24.
In this way, Psalm 5 demonstrates the connection between important
motif groups.
1-12 (BKAT 10.1; Neukirchen-Vluyn: Neukirchener Verlag, 1972), pp. 34ff., 50;
O. Kaiser, Isaiah 1-12 (OIL; London: SCM Press, 1972), p. 24; H.W. Hoffmann,
Die Intention der Verkiindigung Jesajas (BZAW 136; Berlin: de Gruyter, 1974),
pp. 92-93. But in connection with the 'covenant lawsuit' genre, the verses are found
to represent parts of a composition, e.g. on vv. 2-31, S. Niditch, 'The Composition of
Isaiah 1', Bib 61 (1980), pp. 509-29; on vv. 2-26, E.W. Davies, Prophecy and Ethics.
Isaiah and the Ethical Tradition of Israel (JSOTSup 16; Sheffield: JSOT Press,
1981), p. 4; on vv. 2-20, Y. Gitay, 'The Study of the Prophetic Discourse', VT 33
(1983), pp. 207-21; on vv. 2-20, J.T. Willis, 'The First Pericope in the Book of
Isaiah', VT 34 (1984), pp. 63-77; on vv. 2-23, J.D.W. Watts, Isaiah 1-33 (Word
Biblical Commentary 24; Waco: Word Books, 1985), pp. 15-16. While the present
composition of ch. 1 must be significant, the isolation of vv. 10-20 in this context
reflects the significance of the elaborate introduction, v. 10, and the address to a plural
You in addition to the application of the motif structure ending in the conditioned
statement on the fate of the addressees in vv. 19-20.
10. Traditionally linked to formal categories, cf. J. Begrich, 'Die priesterliche
Tora', BZAW 66 (1936), pp. 63-88, reprinted Gesammelte Studien zum Alien
Testament (TB 21; Munich: C. Kaiser, 1964), pp. 243,249 on Isa. 1.1 Off. and Pss. 15,
24 as 'Nachahmungen' of a priestly or cultic torah. More directly related to cultic
categories, S. Mowinckel, Le decalogue (Etudes d'histoire et de philosophic religieuse
16; Paris: Alcan, 1927); cf. K. Koch, 'Tempeleinlassliturgien und Dekaloge', in
R. Rendtorff and K. Koch (eds.), Studien zur Theologie der alttestamentlichen
Uberlieferungen. Gerhard von Rod zum 60. Geburtstag (Neukirchen: Neukirchener
Verlag, 1961), pp. 45-60; and especially comprehensively H. Graf Reventlow,
'Gattung und Uberlieferung in der "Tempelrede Jeremias", Jer 7 und 26', ZAW 81
(1969), pp. 315-52. With the cultic aspect recently more downplayed, the texts have
been connected to the categories of the 'covenant lawsuit' (cf. also the references of
the preceding note) in addition to the discussion on the Deuteronomic influence on
Jer. 7, e.g. Wildberger, Jesaja 1-12, p. 49; Kaiser, Isaiah 1-12, pp. 24ff.;
R.P. Carroll, The Book of Jeremiah (OTL; London: SCM Press, 1986), p. 209;
W.L. Holladay, Jeremiah 1. A Commentary on the Book of the Prophet Jeremiah
Chapters 1-25 (Hermeneia; Philadelphia: Fortress Press, 1986), pp. 236ff. On the
Deuteronomic influence cf. especially W. Thiel, Die deuteronomistische Redaktion
von Jeremia 1-25 (WMANT 41; Neukirchen-Vluyn: Neukirchener Verlag, 1973),
pp. 105ff; A. Graupner, Auftrag und Geschichte des Propheten Jeremia. Literarische
Eigenart, Herkunft und Intention vordeuteronomistischer Prosa im Jeremiabuch
(Biblisch-Theologische Studien 15; Neukirchen-Vluyn: Neukirchener Verlag, 1991);
H. Weippert, Die Prosareden des Jeremiabuches (BZAW 132; Berlin: de Gruyter,
1973). A confluence of traditions has been suggested by Kaiser, Isaiah 1-12, pp. 2728 for Isa. 1.10-17 (cf. also J. Jensen, The Use of Tora by Isaiah. His Debate with
166
Between Sheol and Temple
Formally, the psalm is characterized by a structure of prayers followed by stating sentences introduced by ki. This corresponds to the
structure of Psalm 26. The prayers are found in vv. 2-3a, 9, lla and
probably also v. 12.11
2-3a:
To my words—give ear, Yahweh!
consider what I whisper.
Give attention to the sound of my cry,
my King and my God.
9:
Yahweh, lead me in your righteousness! because of my enemies.
Make your way even/straight before me!
lla:
Make them bear their guilt, God!
so they fall from their schemes.
For their abundant crimes—cast them out!
12:
So they may rejoice, all those seeking refuge with you!
for ever they be jubilant!
Screen them! so they can exult in you, those who love your name.
With the first prayer an invocation, and the concluding one expressed in
third-person forms related to general motifs of praise, vv. 9 and lla
clearly represent the prayers reflecting the present crisis of the I.12
the Wisdom Tradition [CBQMS 3; Washington DC: Catholic Biblical Association of
America, 1973]). Reflecting both Sapiential influence and Deuteronomistic theology,
the composition as a whole is related to the group of temple singers in the post-exilic
period with the function of handing on and increasing the spiritual possession of their
people. Such ideas of confluence can also be related to the assertion of Weippert, Die
Prosareden, pp. 32, 44-45, that a number of the central terms in Jer. 7.1-15 reflects
cultic language and especially to W. Beyerlin, Weisheitlich-kultische Heilsordnung.
Studien zum 15.Psalm (Biblisch-Theologische Studien 9; Neukirchen-Vluyn:
Neukirchener Verlag, 1985).
11. The imperfect forms of the stereotyped form v. 12 could have different functions. Because of the context (cf. e.g. Pss. 40.17 and 70.5 with a similar location), it is
natural to understand v. 12 in the present position in the subjunctive mode, dependent
on the verbs addressed to Yahweh in vv. 1 la and 12a; Ridderbos, Psalmen, p. 128;
Taylor, Psalms, p. 39; Rogerson and McKay, Psalms 1-50, p. 29; Craigie, Psalms 150, p. 88. Both as to formal type and to location, the relationship of v. 12 to the
context can be compared to Ps. 140.13-14 related to vv. 11-12 (cf. below).
12. Cf. especially Ridderbos, Psalmen, p. 128, on vv. 9-12 as 'das eigentliche, das
zentrale Gebet'.
5. Psalm 5: The Struggle to Dwell in the Temple
167
The motivating sentences introduced by ki are found in vv. 3b-4 in
I-forms immediately followed by 5-8, then in the pattern of prayer/
statement in 10, lib, 13.
3b-4:
For to you do I pray.
Yahweh, in the morning you hear my voice.
In the morning I 'set forth my case' for you
and I keep watch.
5-8:
For you are not a god who delights in guilt.
Not shall the evil sojourn with you.
Not shall the boasters stand in front of your eyes.
You hate all those who do evil.
You shall annihilate those who speak lies.
The man of blood and deceit is abhorred by Yahweh.
But I, due to your abundant grace, can come to your house.
I prostrate myself before your holy temple in fear of you.
10:
For there is nothing firm in his mouth.
Their inner is a void.
An opened grave is their throat, their tongue they make smooth.
lib:
For they have rebelled against you.
13:
For you bless the righteous, Yahweh.
As with a shield you encompass him with favour.13
The types of this series of statements are familiar from the texts analysed
earlier. Contrasted sentences describe the I (3b-4, 8), the evil (5-7), the
enemies of the I as evil (10, lib) and the righteous (13), all as related to
Yahweh. Moreover, as to formal character, the sentences can be related
to each other as representing two types: vv. 12-13 as third-person statements on the fate of righteous correspond to the sentences of vv. 5-7 on
the fate of the evil, the two types of being characterized by qualifying
13. Verse 13, isolated or together with v. 12, is usually seen as an expression of
confidence directly or stylistically reflecting ritual expressions for the divine response
to the prayers, e.g. Ridderbos, Psalmen, pp. 128, 71-72 cautiously on a 'Nachwirkung
des kultischen Rituals'. While the concluding location of vv. 12-13 gives these forms
a special function, it is natural for our purposes to stress the relationship of v. 13 to
the preceding parallel statements.
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Between Sheol and Temple
nouns. Connected with these statements are the self-descriptions of
vv. 3b-4 and descriptions of the evilness of the I's enemies in vv. 10,
lib, both related to the prayers. The composition of these sentence
types corresponds especially to Psalm 26. Of special significance is the
similar juxtaposition of central prayers (vv. 9ff.) following an elaborated
series of self-qualifications (3b-8). This connection would suggest that
v. 9 is of special significance in Psalm 5.
For the other texts, we have found that such a composition of thirdperson statements on the righteous and the evil related to I-forms and
descriptions of 'my enemies' reflects a connection between paradigm
and actualization. Thus, while Psalm 26 lacks the objective statements in
the third person, the ending of Ps. 5.12-13 is especially close to 140.1314 (cf. also the negative 36.13 and the positive conclusion of 84.12-13).
The special conclusions of Psalms 5 and 140 could be related to the
indications we have noted earlier of an admonishing function as significant for these texts. The third-person statements as objective confessions
could reflect a similar interest (cf. especially Pss. 31.24-25; 32.10-11;
55.23-24 with corresponding forms and locations connected to explicit
expressions of admonishment). The formal structure of the two psalms
ending with saddiq-sayings, connected with the composition of Psalm 84
centred round the beatitudes and ended by v. 13, could even indicate
that such interests have been decisive in the composition of these texts.
In addition, we note a more subtle motif development underlying the
compositional development of the different sentence types, which corresponds to Psalm 26. Connected with the basic temple motifs, the evil are
negatively depicted as 'staying' (5b, 6a), to be 'cast out' (lla), in contrast to the I as 'coming' and as 'guided on the way' (9), while the concluding vv. 12-13 refer to the happy outcome of permanent dwelling in
the temple for the righteous.
2. The Paradigm (Verses 5-7, 12-13)
In contrast to the I-forms of Psalms 26 and 27, the paradigm is
expressed in third-person statements in Psalm 5. Verses 12-13 are easily
recognizable as singular expressions of stereotypical sentence structures
which correspond to Ps. 140.13-14 (cf. 84.12 and as a prayer 36.11).
Two basic types are represented, both consisting of three elements. One
nominal element refers to God, the other represented by nouns or participle constructions implies a religious qualification of the human actors
('those who seek refuge', 'those who love your name', with saddiq for
5. Psalm 5: The Struggle to Dwell in the Temple
169
a central term). A third element, usually a verb, expresses some act or
situation or relationship between the divine and human actors. The sentences in v. 12—rendered as statements—represent one type:
They rejoice, all those seeking refuge with you.
For ever they are jubilant.
They exult in you, those who love your name.
This corresponds to the similar sentences of Ps. 140.14:
The righteous praise your name.
The upright dwell in your presence.
These sentences reflect a structure with a given relationship between the
three elements:
A.
B.
C.
Terms of qualification in singular or plural forms function as
subject in the sentence.
Verbs refer to a situation of dwelling in the temple (directly as
in Ps. 140.14b, usually connected to a situation of praise and
thanksgiving, with samah as a typical word).
The verbs are usually connected to expressions for the divine
presence ('in Yahweh', 'in your presence' etc.).
This type is represented by a number of constructions in the Psalms.14
A second important sentence type is expressed in v. 13 and v. 12a:
You bless the righteous, Yahweh.
You encompass him with favour.
You screen them.
Corresponding sentences are used in Pss. 140.13 and 84.12:
Yahweh judges the afflicted.
He (Yahweh) executes justice for the poor.
Yahweh gives grace and glory,
no good is withheld for those who walk in sincerity.
And the prayer of Ps. 36.11 shows a corresponding structure:
Prolong your grace for those who know you!
your righteousness for the upright of heart.
14. Confined to the Psalms and with saddiq for word of reference: 58.11; 64.11;
68.4; 140.14; in addition to singular expressions elaborating aspects of the praise
motif 92.13ff. (cf. the corresponding 52.10-11 in I-form), 118.15-16; 52.8-9; 118.1920 and possibly also 142.8b; in imperative form 32.11; 33.1; 97.12.
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In this sentence type the relationship between the three elements consists
of:
A.
B.
C.
Divine subject.
Verbal or nominal form relating the divine subject to
Nouns or participle constructions which imply a religious
qualification, expressing the human objects of the divine action
or attitude.
This type also reflects a traditional structure.15
The stereotypical character of these sentences both as to form and to
motifs must reflect a traditional background. Their formal characteristics
and application indicate that they basically have a function as statements
of religious truths. With expressions for the divine grace and religious
qualification as fixed elements, their subject matter is the good fate of
certain types of people as related to God's special favour.
In Psalm 5 these sentence types are negatively mirrored by contrast
statements in vv. 5-7. This corresponds to the relationship between
140.13-14 and v. 12. Both types described above are represented. With
human subjects religiously qualified in 5b, 6 and 140.12:
The evil shall not sojourn with you.
The boasters shall not stand in front of your eyes.
The man of tongue shall not stand firm in the land.
Also the basic structure of 36.9 can be related to this type:
They fall, those who do evil.
With divine subject in 5a, 6b, 7:
You are not a god who delights in unrighteousness.
You hate all those who do evil.
You annihilate those who speak lies.
Yahweh abhors the man of blood and deceit.
A related construction with evil fate for subject is found in 140.12:
The man of violence—evil 'shall hunt' him speedily down.
These statements correspond to the positive statements not only with
regard to structure, but also to motifs. The sentences with divine subject
15. Also here confined to Psalms and saddiq, cf. the nominal constructions 14.5b;
34.16; 37.39; participle constructions 1.6a; 34.21; 37.17b; 146.8b; with finite verbs
5.13; 7.10; 11.5a; 34.20b; 37.33,40; 55.23 second line.
5. Psalm 5: The Struggle to Dwell in the Temple
171
describe Yahweh in negative and positive relationship to two types of
human being. For words like rason and ta'ab16 the cultic connotations
of divine acceptance and non-acceptance are obvious, while especially
hdpes11 and also sand with Yahweh for subject link to the connotations
of rason.18 Thus, the introductory negative statement in v. 5 on Yahweh
as Id hdpes related to the object of rcesa' corresponds to the concluding
statement, v. 12, relating the divine rason to the saddiq. These statements complement each other as descriptions of Yahweh in positive and
negative relationship to good and bad humans. Their relationship could
even suggest that the application of the contrast statements could be
significant for the composition of the psalm as a whole.
The sentences with human subject of vv. 5a, 6a and in 12 refer to
motifs of dwelling in the temple, the eternal rejoicing corresponding to
'sojourning' and 'standing' related to Yahweh. Moreover, the motifs of
the two sentence types in Psalm 5 correspond, with the idea of admission into and stay in the holy precinct connected with divine examination and acceptance.
Such negative statements, contrasting positive statements, are found in
a number of applications.19 In Wisdom literature contrast of this type is a
typical fixture. In the psalms, Psalms 34 and 37 could be regarded as
collections of contrast statements representing the two sentence types
described above. Psalms 1 and 52 are of special importance in this connection. In Psalm 1, v. 6 represents a typical contrast statement. But in
addition, the psalm as a whole is traditionally seen as a composition of
contrasting descriptions of the positive and negative type, with regard to
qualification and to fate. Psalm 52 can be regarded as another example
of a composition of contrast, here with the negative figure addressed as
You (vv. 3-7), contrasted by the positive figures of the saddiqim connected with a self-description in I-form (vv. lOff.). These two psalms
16. Cf. the application of the noun Isa. 1.13 and Jer. 7.10, Weippert, Die
Prosareden, pp. 42-43.
17. Isa. 1.11.
18. E.g. Gerlemann, hps, THAT, I, pp. 623ff.; rsh, THAT, II, pp. 810ff., cf. also
Gerstenberger, t'b, THAT, II, pp. 105Iff.
19. Aside from the repeated contrast sayings of Pss. 34 and 37 cf. especially 1.6,
7.10, 11.5 and further 92.13-15 with the antithetical v. 8, and further 32.11 as related
to v. 10, 68.4 as related to vv. 2-3, and also 55.23 followed by v. 24, 14.5a and b,
75.11, in addition to the elaborate constructions 112.5-9 related to v. 10, and 146.7-9a
related to 9b. In this context 58.11 reflects the contents of an antithetical saying,
contracting the plus and minus-fate into one scene.
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Between Sheol and Temple
demonstrate that the literary significance of contrasted paradigms is not
limited to the application of certain statements, but can be applied as a
conceptual frame for a whole composition. This is also relevant for the
more complex compositions of Psalm 5 and also 140.
Psalms 34 and 37 also illustrate the proverbial character of these
statements as short and general descriptions of religious laws. In a
number of cases, the saying might even represent a traditional statement
being cited (cf. especially the introductions in Ps. 140.13-14). The transition from singular to plural forms in Pss. 5.5-7, 12-13 and from
Yahweh's being addressed to being mentioned in the third person in v. 7
might reflect such a background, with the present composition representing a compilation of traditional sayings. Alternatively, the individual
statement could represent an individual ad hoc construction. Even as
such, its shape must define it as a statement of a certain character and
function as dogmatic expression of a religious truth.20
The stereotypical formal character of these statements goes with a
marked freedom of individual application. Thus, Ps. 36.11, which reflects
the stereotypical structure of the three sentence elements, is presented as
a prayer (cf. also the sm/i-sentences in indicative and imperative forms).
In the same way, the imperfect forms of Pss. 140.12 and 5.12 as immediately related to preceding prayers, probably should be rendered as
subjunctives. On the other hand, the following stating sentences (140.1314, 5.13) must have repercussions for the function of the preceding
sentences, serving both as prayers and as preparing the concluding
statements.
Moreover, the application of such truths is not limited to the stereotypical sentence constructions, but can also be used as a conceptual
frame for the composition of whole psalms like Psalms 1 and 52 and
possibly also prayer psalms like 5 and 140. In addition, the significance
and applicability of these concepts are demonstrated by the other
expressions of the paradigmatic figure in the texts analysed above. The
linkage of this paradigm with concepts of dwelling in the temple connected with categories of admission and divine acceptance relates the
20. Often applied as conclusion in prayer psalms, such statements are traditionally
given a function as statements of 'confidence', connected with the psychological
categories of Gunkel's 'Sich-Aufschwingen zu einer festen Gewissheit' or with more
objective phenomena of an intermittent oracle response, e.g. Ridderbos, Psalmen,
pp. 71-72.
5. Psalm 5: The Struggle to Dwell in the Temple
173
statements in Psalm 5 to the literary and religious tradition expressed by
Psalms 15 and 24.
These connections are stressed by the simplified motif usage in the
paradigmatic statements in Psalm 5. In vv. 5-7, the evil are related to the
sanctuary as dwellers also. Centred round motifs of divine favour/disfavour and dwelling in the temple, the righteous and the evil are related
to the same goal of 'dwelling before Yahweh'. The confluence of the
contrasts into this basic imagery, with the two groups of humanity
depicted as competitors for the same goal, could be explained as a
rhetorical simplification reflecting the interest of this singular composition. On the other hand, the very fact of contrast statements which
describe the contrasted fate of two contrasted types of human being
must presuppose a basic connection between the positive and negative
fate. Such a constellation would correspond to the contrast of basic
terms like saddiq and rasa'. With Deut. 25.Iff. as an illustration of the
connotations of the terms, their application could imply a constellation of
struggle for the same coveted object in front of the judge.21 In addition,
such a confluence of motifs could be implicit in the other texts. It corresponds to the basic contrasts of temple and Sheol/death, death signifying
the fate of the evil.
That such a connection is basic is also demonstrated by the relationship of these texts to Psalms 15 and 24 together with Isa. 1.1 Off. and
Jer. 7.2ff. While Psalm 5 contrasts the negative and positive paradigmatic
figures, both as related to dwelling in the temple, Psalms 15 and 24 are
given to the description of the positive figures which qualify for the
coveted goal of dwelling in the temple. The prophetic texts express a
special application of the paradigm, with a special allocation of the main
roles: the evil are entering the temple for worship (Isa. 1.12; Jer. 7.2). As
entering to see/be seen by the divine face (Isa. 1.12, heightened to a
prayer situation, v. 15; cf. the motif correspondence with v. 16), standing
themselves before the divine presence in acts of confession and trust
(Jer. 7.10)22, their temple orientation23 and behaviour correspond to the
21. Cf. also the traditional model of ordeal as basic for the enemy psalms.
22. Cf. also the threefold repetition of bdtah, vv. 4. 8. 14, which we have found to
be significant for this type of piety; 'the Temple of Yahweh', v. 4; and sceqcer vv. 4, 8,
9; Weippert, Die Prosareden, pp. 32ff. A negative confession related to 'falsehood'
and contrasted by positive exhortations can be compared to the use of bdtah
Ps. 62.9ff. (cf. below).
23. This aspect is pronounced in Jer. 7, cf. the preceding note and stressed by
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Between Sheol and Temple
those of the I in Psalm 5 and the other psalms. But as 'evil' (cf. especially Isa. 1.15 and Jer. 7.9 with a strong connection between motifs of
evilness and cult acts) their praying with bloody hands and their confession before the divine presence corresponds to the visualization of the
evil in Ps. 5.5-7.
While the usual application contrasts two types of religious being as
represented by two contrasted groups, the addressed You as evil are the
sole actors in the two prophetic texts. On the other hand, the exhortations (Isa. 1.16-17; Jer. 7.3-6)—at least rhetorically—presuppose that the
addressed You can change their roles in the drama.24
Correspondingly, the addressees are related to two contrasted types of
fate, hislik from the divine face v. 15, juxtaposed to sdkan in pi'el form
vv. 3, 725 corresponds to the motif application of Psalm 5. Also the contrast eat/being eaten in Isa. 1.19-20 can be referred to the fundamental
contrast of life/death inherent to the motifs of dwelling in the temple and
could represent a singular application of the stereotypical meal motif. In
this way, these texts could be seen as expressions of important aspects of
the complex situation depicted in Psalm 5.
3. The Actualization of the Paradigm (Verses 3b-8, 10 and 11)
The negative statements in vv. 5-7 are framed by contrasting Iforms (vv. 3b-4 and 8). This connection corresponds to the immediate
Carroll, Jeremiah, p. 209, who finds the sermon not to reflect entry requirements for
worshippers, but a 'thoroughgoing critique of Jerusalem's cultic ideology'.
24. That this not is an isolated case of application is demonstrated by Isa. 33.14
relating dwelling in the temple to 'sinners' and 'polluted'. This type of introduction
in so stereotyped forms is significant when added to the two independent applications
in Isa. 1 and Jer. 7.
25. The peculiarly tenacious emendations based on the Vulgata (Holladay,
Jeremiah 1, pp. 236-37) disturbs this contrast. With the Masoretic vocalization, the
application ofmdqom (vv. 3, 7, 14) makes an ambiguous effect (Carroll, Jeremiah,
p. 209), with a subtle shift from temple to land as the blessed locality of divine
relationship. That the categories of dwelling in the temple are open to flexible use is
demonstrated by Jer. 22. Iff. Reflecting an application of the motif structure which
correspond to 7.1-15 (Reventlow, 'Gattung und Uberlieferung in der "Tempelrede
Jeremias", Jer 7 und 26', p. 332), the immediate meaning of the locality motifs vv. 24 must be connected to associations of the royal palace, extended to land vv. 6-7 and
city v. 8. At the same time, the connection of vv. 2-3 would make the message viable
by its subtle undertones of temple ideology.
5. Psalm 5: The Struggle to Dwell in the Temple
175
transition from enemy motifs in the prayers of vv. 9-11 to the positive
statements in vv. 12-13. With this arrangement of the materials, the I is
related to the negative, the enemies to the positive paradigm.26
As concluding the introductory prayer in vv. 2-3a and preparing the
main prayers of vv. 9ff., the location as well as the main motifs of 3b-8
correspond especially to Ps. 26.3-8 located between vv. 1-2 and 9ff.27
The formal structure of these statements corresponds as well: vv. 3b-4
qualify the I positively (cf. Ps. 26.3), 5-7 give a contrasting description of
the evil (cf. Ps. 26.4-5 in I-form),28 contrasted by a description of the I in
the temple (cf. Ps. 26.6-7). In both cases, the negative statements are
introduced by relatively independent I-forms. Ps. 26.3 refers to the
repeated statement of the I as walking (vv. 1 and 11), while 5.3b-4 and
5ff. are both introduced by kt. The connections of structure and motifs
are too obvious to be coincidental, while the individual character of
each composition makes a direct relationship of literary dependency
improbable. The I-forms in both cases must reflect a traditional background of some given pattern. Ps. 26.3ff. in I-form and the pattern of
I-forms and third-person statements in 5.3b, 4ff. must have a similar
function in the context.29
As composed by I-sentences, the expression of this tradition in
Ps. 26.3ff. represents the simpler form. Ps. 5.3b, 4ff. is more complex,
with I-sentences related to independent third-person statements on the
evil. Thus, while the I of Psalm 26, both in self-qualifications and prayers,
is related to the evil in plural form, the composition of Psalm 5 relates
the I to the evil mentioned both in singular and plural: aside from 5a
with evilness for the central noun of negative qualification, 5b introduces
the third-person statements with the evil in singular, followed by plural
forms until the singular form of the last third-person statement, v. 7
second line. Contrasted by the I-form of v. 8, the concluding singular
form as well as the introductory must have a function of linking the Iforms and the third-person statements. Thus, while the enemies in the
26. For an alternative arrangement cf. Ps. 140, with the I related to the enemies
qualified as evil, followed by a gradual transition (vv. 11-12) from prayers into
negative (v. 12) and positive (vv. 13-14) statements.
27. Dahood, Psalms I, p. 32.
28. Cf. concretely the series of /o-sentences followed by a sentence introduced by
sand 26.4-5 and 5.5-6.
29. Cf. especially Dahood, Psalms I, p. 29 and Croft, The Identity of the
Individual, p. 90, on these verses as protestations of innocence.
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Between Sheol and Temple
prayer are mentioned in plural (v. 9a), the enemy-qualifications in the
prayers have an arrangement of singular and plural forms which correspond to vv. 5ff. Here an introductory—often emended—singular in
v. 10 is followed by plural forms in vv. 10 and 11. The absence of a concluding singular form in v. 11 corresponds to the plural forms of the
positive statement, v. 12, which contrasts the evil enemies with the
blessed rejoicers. The singular form saddiq of the concluding statement
v. 13 reverts to the frame of singular forms, and must reflect a similar
compositional interest. Thus, it both balances the introductory thirdperson statement (v. 5) and must in this context link to the I-figure.
This meticulous composition underlines the connection of the positive
and negative third-person statements with the positive and negative
descriptions of the I and the enemies. On the other hand, the different
formal background must have repercussions for the function of the
different types of statement. In the present composition, the common
temple motifs of vv. 5b, 6a and 8 link the I and the evil in a contrasting
relationship to the temple. Usually, the two statements are seen as materially identical: the evil are not allowed to enter the sanctuary, the I is
allowed to enter. Correspondingly, the I is found to designate himself—
at least indirectly—as 'righteous'.30
But as an expression of a stereotypical saying, vv. 5-7 has a special
connotative function, parallel to vv. 12-13 as a contrast statement. The
statements describe the fates of two types of human being under divine
favour and disfavour, as rejoicing and not-dwelling in the temple (to the
latter contrast cf. Ps. 140.14 related to v. 12). While the I-forms are connected to the negative paradigm, the enemy prayers are connected with
the positive vv. 12-13.
Thus, the present relationship between vv. 5-7 and v. 8 must be more
subtle.31 Together with vv. 3b-4, v. 8 is not an expression for the ultimate fate of the I, but must be related to the following prayers. The
solution of the crisis depends upon divine intervention.32 Similarly to the
30. E.g. Kraus, Psalmen, pp. 39-40; Ruppert, Der leidende Gerechte, p. 37.
31. That the motifs of v. 8 cannot be automatically identified with the situation of
vv. 12-13 is also illustrated by Ps. 118.19-20, referring to a special entrance for the
righteous. Cf. also Jer. 7.2, 3, 5-7, 10 with the normal ritual 'come to prostrate
oneself and 'come and stand oneself contrasted with a special 'dwelling' reserved
for the non-evil, and Isa. 1.12, 19-20 separating between the ritual 'come to see/be
seen' and an ultimate goal of 'eating' contrasted with 'being eaten'.
32. This is also illustrated by the tendency to reconcile the tension between v. 8,
5. Psalm 5: The Struggle to Dwell in the Temple
111
parallel 26.3ff., the I-forms contrasted by the negative statements must
have a function of self-qualification in preparation of the following
prayers. This corresponds to the motifs use.
histahawd connected with bo refers to temple categories and could
simply mean 'go to the temple to take part in the proper rites'.33 But
more pregnant usages suggest that with this meaning the motif has
retained its original meaning of 'bowing down', referring both to confession and submission.34 The prostration as orientated 'eel hekdl
(Pss. 138.2 and also 28.2) could be significant. In Ezek. 8.16 the apostates demonstrate the utter perversion by their prostration towards the
east, their backs 'eel hekdl.35 This scene could represent an elaboration
of the connotations of the motif as expression for the right form of
worship.36
In this context, it is natural to stress the connotations of submission in
connection with the act of prayer, due to the connection of vv. 8 and
3b-4. As illustrated by Ps. 28.2, the motifs of vv. 8 and 3b-4 could reflect
the one scene of the I as praying. The significance of this situation is
underlined by vv. 3b-4 where four parallel sentences describe the act of
presupposed to demonstrate an attained status, and vv. 9ff., orientated towards the
decisive future acts, by Ps. 5 understood to refer to preparatory rites.
33. Jer 7.2; 26.2; Ezek. 46.2, 9; and further Ps. 132.7; Isa. 27.13; 66.23.
34. On the latter aspect cf. especially Ps. 99.9.
35. Zimmerli, Ezechiel 1-24, p. 221 stresses 'die Verletzung der geordneten
Gebetsrichtung' as their real sin.
36. Cf. the constructions with lifne the right altar in 2 Kgs 18.22, Isa. 36.7,
2 Chron. 32.12 in addition to 2 Chron. 29.6 connected with temple motifs and further
also Jer. 2.27, 32.33 on turning the back and not the face towards Yahweh. These
applications could allude to a special conceptual background of proper ritual localization. Thus Ps. 5.8 together with 28.2, 138.2 and also 26.6 could be related to Ezek.
8.16, Joel 2.17, and 2 Kgs 18.22 as references to a certain location connected with the
altar. Cf. also Beyerlin, Weisheitlich-kultische Heilsordnung, pp. 94ff., who links
Ps. 15, Ezek. 46.3 and Ps. 118.19-20 to the parallel localizations of 'gate' and
'forecourt' in Jer. 7.2 and 26.2 and relates the pilgrims to the outer temple forecourt
and orientated to the gate leading into the inner forecourt with the altar (cf. also
Reventlow, 'Gattung und Uberlieferung in der "Tempelrede Jeremias", Jer 7 und
26' pp. 326ff., 333). On the other hand, Ezek. 46.2, 3, 9 warns against too simplified
models of cultic reality by illustrating that the general expression 'coming to prostrate
oneself could refer to different locations within the temple compound for different
classes of people; cf. Hauge, 'On the Sacred Spot. The Concept of the Proper
Localization before God', pp. 30-60 and also the suggestions Beyerlin, Weisheitlichkultische Heilsordnung, p. 95 on 'Wenigstens zwei' 'Grenzlinien'.
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Between Sheol and Temple
prayer. Moreover, the description continues the invocation vv. 2-3a with
the divine attention related to the parallel 'my words', 'my whispering'
and 'the sound of my crying'. And with 'my words' introducing the
whole composition, the first part of the psalm puts a marked emphasis
on the situation of prayer. The I—in contrast to the paradigmatic evil—
of vv. 2-8 describes himself as supplicant.
With v. 8 as part of this imagery, the final motif of I coming 'due to
your abundant grace' (cf. especially in the similar context Ps. 26.3) and
prostrating himself 'before your holy temple' 'in fear of you' contrasts
with the motifs of the evil in vv. 5b, 6a as 'sojourning' and 'standing' as
'boasters' 'in front of your eyes'. The image of the I as humbly prostrated corresponds to the boastful37 standing,38 comparably to the execution of the motifs of walking and staying in Psalm 26.
In this way, vv. 3b-8 have a function corresponding to the selfdescriptions of Pss. 26.3-8 (and its parallel forms), 27.1-6,42.2ff., 84.2-4.
The application of the negative statements of vv. 5-7 within the selfdescription can be compared to the motifs of the evil in Ps. 26.3ff., and
also to the self-description of Ps. 84.2ff., which is immediately followed
by beatitudes in vv. 5ff., and to the special composition of third-person
forms in Ps. 36.2-10. Whatever the particular motifs, the I is describing
himself as related to Yahweh as confessor, the confession preparing for
the prayers. In all cases the relationship to Yahweh is expressed by the I's
temple orientation. With this temple orientation also connected to thirdperson statements (cf. especially Psalms 140, 36, 84 and 5), the confession of the I expresses aspects of the positive paradigm, contrasting with
the negative. The renunciation of the example of the evil is especially
significant in this psalm which depicts also the evil as related to the
temple and 'cast out'.
The application of the enemy descriptions in vv. 10 and 1 Ib is parallel
to the I-descriptions, introduced by ki and related to the prayers. The
37. hdlal with its connotations of 'praise' could be related as a contrast to especially the hitpallel of the I; cf. also Dahood, Psalms I, p. 31 and Craigie, Psalms 1-50,
p. 84 on the 'pagan overtones' of this motif. The scene of Jer. 7.10 with the
complacent self-qualification 'we are delivered!' from the evil slanders represents a
parallel visualization (cf. also Isa. 1.12 on the entrants as 'trampling'). That the texts
reflect traditional expressions can also be seen from the elaboration Isa. 1, with motifs
of uncleanliness (vv. 15-17, 18) comparable to the self-qualification Ps. 26.6.
38. Cf. also a similar word-play Ps. 99.9 with the challenge to prostrate for the
holy mountain parallel to 'make high' their God.
5. Psalm 5: The Struggle to Dwell in the Temple
179
parallel relationship is stressed by the arrangement in the context, with
the I-forms connected with the negative third-person statements, the
enemy descriptions with the contrasting vv. 12-13. The motifs of vv. 10,
1 Ib clearly describe the enemies as evil. Especially the motifs of 'deadly'
talking in v. 10 correspond to v. 7. Related to such 'smooth-talking39
graves',40 the I is evidently exposed to certain death save for the divine
intervention. In addition, the pattern of singular and plural forms in
the enemy descriptions corresponds to vv. 5-7 (cf. above). Similarly to
the I actualizing aspects of the positive paradigm, the enemies are
representatives of the evil.
This could also be related to the qualifications used. The I entering the
temple 'due to your abundant grace' and the enemies cast out 'due to
their abundant crimes' reflect the contrast relationship.41 Especially,
vv. 2-4 puts a peculiar emphasis on the I as 'talking', connected with the
prayer situation. Aside from the connection with vv. 5ff., this can be
related to the parallel emphasis—expressed by four sentences—in v. 10
on the enemies as deadly talkers.42 Conversely, this would add to the
significance of the I as supplicant as the expression for the positive
paradigm.
By these arrangements, the enemy relationship is described within the
categories of the paradigm. The text may reflect a relationship in some
hypothetical life situation isolated from these categories. But within the
textual frame, the significance of the relationship consists in the I and the
enemies depicted as contrasted types of religious being in conflict. And
with the conflict as an expression of the evilness of the enemies, this is
39. Cf. the similar use of halaq, Ps. 55.22 and Prov. 2.16ff. (cf. also Prov. 5.3,
6.24, 7.5, 21) with a parallel contrast between spoken smoothness and inner reality of
death. In both cases the description of the evil enemy is connected to general thirdperson contrast statements (Prov. 2.21-22 and Ps. 55.23 second line, 24a), Prov.
2.20-21 also to positive way motifs with wisdom providing the special guidance.
Either as related to the sexual seduction of Prov. 2 or the intimate friend of Ps. 55 or
to the devourers of Ps. 5, the imagery obviously draws on stereotyped motifs, motif
patterns, and forms.
40. Connected with 'grave', hawwot could be expected to refer to an imagery of
'gape', 'chasm', 'void', with the enemies as 'devouring' corresponding to Ps. 27.2a,
Prov. 1.11-12; cf. Dahood, Psalms I, p. 34-35; also A.R. Johnson, The Cultic Prophet
and Israel's Psalmody (Cardiff: University of Wales Press, 1979), pp. 258-59.
41. Ridderbos, Psalmen, p. 129.
42. Craigie, Psalms 1-50, p. 88, stresses the significance of talk motifs for the
characterization of the enemies in this psalm.
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Between Sheol and Temple
part of the paradigmatic description of reality. This is stressed by the
special motifs of the prayers.
4. The Prayers (Verses 9-11)
Verses 9-11 correspond to Pss. 27.11-12 and 43.1-4. In the parallel
prayers we find the pattern of address to Yahweh and motivating sentences (cf. 27.12b like 5.10, 1 Ib describing the evilness of the enemies,
while the enemy qualification in 43.1 is directly connected to the
address). In all cases, the prayer consists of two parts (Ps. 27.12-13
without any formal separation). One part is given to the prayer for divine
guidance connected with way motifs, the other for the divine intervention related to the enemies. The two parts are closely linked. This is
expressed by the element 'because of my enemies', v. 9a and 27.lib
attached to the guidance prayer. Even with 'your righteousness' for the
way unto which the I shall be led (cf. Pss. 26.3 and 43.3 connecting the
way with similar divine attributes), the two parts must basically refer to
the same situation.43 In Psalm 5 this linkage is especially close, with the
main enemy qualification in v. 10 closely connected to the way-prayer.
While the elements of v. 9 and 27.11 obviously represent stereotypical
language with allusive effect, Ps. 43. Iff. provides a frame for the visualization of the connection between the various motifs: under divine guidance the I can be brought from a place where he is delivered into the
hands of his enemies to the temple. But both in Psalms 27 and 5 such a
connection between way and temple motifs is rhetorically 'impossible'.
Due to the prior application of the temple motifs in the self-qualification,
the visualization of the I in the temple has been pre-empted. Instead the
temple relationship as the ultimate goal of the I's prayer is, in Psalm 5,
expressed by the stating third-person forms of vv. 12-13; in Psalm 27 by
the substitute motifs of seeing in the land of life v. 13 (cf. also the similar
43. This connection poses no problem when the 'real' crisis is connected to
social-biographical categories of, e.g., judicial or national problems, the results of
divination immediately to be interpreted as expression for the divine will to annihilate
the 'real' problem out in life. But when, e.g. Ridderbos, Psalmen, p. 128, on the one
hand recognizes the 'spiritual' contents of the way motifs ('- ist der Weg von Gottes
Satzungen'), on the other hand seems to retain the traditional understanding of the
Enemies, he has difficulties in combining a pious and an obviously 'selfish' prayer:
first the I prays for 'Unterweisung in den Geboten' and only then 'wagt er von
seinen Feinden zu sprechen'!
5. Psalm 5: The Struggle to Dwell in the Temple
181
motif relationship in the self-qualification Ps 26.6 compared to the negative motifs of the prayer, v. 9).
The enemy prayer Ps. 5.11, immediately preceding vv. 12-13, connects
to these categories. In parallel imperatives Yahweh is asked to 'dsam in
hiph. form so the enemies ndpal, and to nddah in hiph. form.
The negative fate described as falling corresponds to the motifs of
Pss. 140.5b, 11, 12a; 36.13; 27.2b. It can be related to a contrast motif
of standing as with hityasseb (v. 6a), further qum (Pss. 140.lib, 36.13),
kun (140.12a), 'dmad (26.12) and non-md'ad (26.2b). Probably also rum
of Ps. 27.5b, 6 reflects the same imagery, in addition to the motif of
'even ground' (Ps. 26.12) and also as one set of connotation of ysr
linked to way (Pss. 27.1 la and 5.9b).
nddah in hiph. form is usually understood as a general term for
destruction and annihilation. But the word could have more specific
connotations.44 The other usages indicate that the word is of a referential
nature related to local categories and means 'remove from a place'.
With Yahweh for subject, the word is used as a technical term for Israel
as exiled.45 So even in this stereotypical application, the verb has
retained its meaning of forcible removal from one (preferred) place to
another.
With this meaning, the enemy prayers correspond to the special thirdperson statements in vv. 5b, 6a, with the enemies, 'falling' parallel to the
not-standing of the evil, 'being cast out' parallel to the not-sojourning.
Such a relationship between stated and requested fate would correspond
to the relationship between vv. 5-7 as expression of the negative paradigm and the enemies of the I as actualization of the negative paradigm.
Moreover, this correspondence of motif usage would imply that in
v. 11 also the enemies are cast out from the divine presence. Such a
relationship between nddah in hiph. form and a negated gur connected
with motifs of divine rejection is given a dramatic illustration in the scene
from Lam. 4.15:
44. A more direct relationship to the context is suggested by Delekat, Asylie, p. 59
('In der Fiille ihrer Frevel verstosse sie!') and especially Dahood, Psalms I, p. 36,
who argues that the word, with ddha as 'congeners', sometimes signifies to 'thrust
into Sheol'. Correspondingly, ndha of v. 9 is supposed to mean 'lead into Paradise',
with references to 23.3, 73.24, 139.24 (pp. 33-34).
45. Deut. 30.1; Jer. 8.3; 16.15; 23.3, 8; 24.9; 27.10, 15; 29.14, 18; 32.37; 46.28;
Ezek. 4.13; Dan. 9.7. The exception is Joel 2.20 on Yahweh removing the enemy
'from you' and 'thrusting' them into a 'dry land'.
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Go away! Unclean! they shout to them.
Go away! Go away! Don't touch!
For they flee, yes, they stagger.
They say among the peoples:
They shall not sojourn any longer.
Comparably to the evil as 'men of blood' and the contrast of evil and
righteous in Psalm 5, the beings of Lamentations 4 are described as
staggering46 around, defiled and unclean from the 'blood of the righteous'. In v. 16a they are negatively related to the divine face which
'have scattered (hilleq) them' and 'shall not look upon them any
longer'. The sentence construction of v. 15b6 corresponds to v. 16b6,
connecting the 'not-sojourning' and the divine 'not-looking' similarly to
the 'not-sojourning' and 'not-standing' before the divine eyes (Ps. 5.5b,
6a).
This motif compilation corresponds with that of Ps. 5.5-7, 11, and
depicts in a vivid scene the implications of the motif connection: the 'evil'
shall not sojourn and not stand themselves in front of Yahweh, but shall
fall and be cast out—the casting out connected with relationship to the
divine presence.47 Such a connection corresponds also to the immediately following contrast forms in vv. 12-13, which depict the contrast
fate of dwelling in the temple and divine favour for the saddiq-group.
In v. 11 the 'casting out' is parallel to the divine 'dsam in hiph. form.
This can be compared to the compilation of statements in Ps. 140.13-14,
where the motifs of dwelling in the temple (v. 14) are parallel to the
divine making of din and mi spat for the favoured group. The motif
composition of the positive judgement related to dwelling in the temple
and contrasted with negative statements on the disfavoured group
(Ps. 140.12-14) corresponds to that of Ps. 5.11-13, with the negative
judgement related to banishment and contrasted with positive sentences
on the fate of the favoured group. The significance of some divine
46. nu 'a can be related to the motif firmly standing, cf. words as kun, mot, md'ad,
ddhd, kdsal in these texts in addition to the motif of misor. On the other hand, to
Beyerlin, Weisheitlich-kuhische Heilsordnung, p. 55, the application of mot Ps. 15.5
is important for the argument for Sapiential background for Ps. 15.
47. That these texts represent individual expressions for a given motif group is
also illustrated by the parallel elaborations of these motifs in Isa. 1.1 Off. and Jer. 7.115 (cf. above). For the negative fate as described in Ps. 5, cf. especially the 'hiding of
the divine eyes' (Isa. 1.15 corresponding to Ps. 5.6a, Lam. 4.16), and Yahweh's
'hislik from his face' contrasted with 'sdkan for the good fate (Jer. 7.15, 3, 7).
5. Psalm 5: The Struggle to Dwell in the Temple
183
examination in connection with the situation of admission/non-admission
to the temple is stressed by Psalm 26, here in connection with the I
being brought to Sheol by Yahweh.
In Psalm 5 connotations of death as the contrast fate are alluded to by
the motif of falling in v. 11. The function of this motif in the context is
seen in the relationship to the motif of standing in v. 6a and the even
way of v. 9b. But when we pay attention to the applications of the motif
in Pss. 140.1 Iff., 36.12-13 and also 26.9-10, 'falling' in connection with
forced movement and in contrast to dwelling in the temple implies connotations of death and Sheol as the negative locality. Similarly, the I led
on the way (v. 9) refers in this context to the opposite movement
towards dwelling in the temple. For the I, related to the enemies as
described v. 10, death is the negative alternative.
Given this background, we find a relationship between the prayer in
v. 11 and the description of the fate of the evil in vv. 5-7. What is stated
as lawful fact in vv. 5-7, is asked for in v. 11. The connection between
statements and prayer is given by the qualifications of the enemies in
vv. 10 and 11: the enemies of the I are truly evil and should have the
corresponding fate. In this way, the enemies are representatives of the
negative paradigm.
The expression for the I as representative of the positive paradigm is
more subtle and indirect. The self-qualifications in vv. 3bff. contrast the I
as the humble supplicant with primarily the negative example of the evil.
In addition, the way motifs of v. 9 with the I under divine guidance and
set on the 'even way' contrast with the negative movement of the
enemies as 'cast out' and 'falling'. But motifs of ultimate dwelling in
the temple are reserved for the concluding third-person statements in
vv. 12-13. This reticence corresponds to the concrete situation of crisis
and supplication directed towards the divine judgement. Here as in the
other texts, the application of the motif structure presupposes the I as a
being outside the sacred state described in v. 12.
5. Conclusions on the Motif Structure
a. The Basic Structure
Given this background, Psalm 5 represents a meticulous composition: on
the one hand remarkably simple due to its internal balance of juxtaposed
elements, on the other hand presenting a compilation of complex and
richly allusive materials. It is closely connected with the texts analysed
above, and is important in linking different phenomena which characterize
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single texts or single groups of texts.
This text elaborates motifs which reflect a basic structure of sacred
topography. The temple is juxtaposed to an outside. While most of the
other texts refer more to outside situations, Psalm 5 is centred round the
concept of dwelling in the temple. Thus, in this psalm the evil and the
enemies are negatively related to dwelling in the temple. The motifs
which implicitly refer to localities outside are related to the temple as the
sole relevant locality; the I related to the sacred way, the enemies 'cast
out'. While the motif of falling implies connotations of death, the main
function of this motif is here linked to the idea of dwelling in the temple
and contrasts with standing before the divine eyes.
Secondly, the two localities—here dwelling in the temple and not
dwelling in the temple—are linked to two types of human being. This
linkage is especially clear in this text due to the use of contrasted thirdperson statements. The 'righteous', 'those who seek refuge with you',
'those who love your name' (vv. 12-13) are linked with the temple, while
those of 'guilt', the 'evil', 'those who boast', 'those who do evil', 'those
who speak lies', 'the man of blood and deceit' (vv. 5-7, cf. also vv. 10
and 1 Ib) are linked to an implicit outside of not dwelling.
Thirdly, the linkage of locality and type of human being is connected
with categories of fate. Dwelling in the temple represents the ultimate
goal within the motif structure; being 'cast out' represents a negative
fate. The connotations of death, with Sheol for the contrast locality,
stress this aspect.
In addition, this text applies the temple motifs not only as the ultimate
fate, but also as the qualification of the I as separate from the evil/the
enemies. The application of temple motifs in this volitional mode, corresponds especially to Psalm 26 (cf. also Pss. 84 and 27.1-6). At the same
time, the applications of these motifs in these texts clearly distinguish
between the I as related to the temple and the special dwelling in the
temple as the possible outcome of the divine intervention, reserved for a
special group.
Fourthly, the connection of categories of locality, types of human
being and their contrasted fates, is linked to the fundamental concept of
relationship to Yahweh. The significance of the temple as well as the
negative outside is given by the temple being the place of divine dwelling.
Admittance into the temple means a special relationship to the divine
dweller. In this text, this is expressed by vv. 5-7 (cf. also vv. 12-13)
which define the special dwelling in the temple as spatial closeness to
5. Psalm 5: The Struggle to Dwell in the Temple
185
Yahweh, 'sojourning with' and 'standing before the eyes of Yahweh,
over and above the use of verbs which describe an emotional relationship of divine disgust and favour.
Finally, these concepts are linked to the idea of divine decision and
intervention. The 'dsam in hiph. form related to the enemies of v. 11
corresponds negatively to the divine din and mispdt related to the
'afflicted' and the 'poor', Ps. 140.13, and to the more comprehensive
sdpatas divine examination and testing, Ps. 26.1-2.
Ultimate admission to the temple—in this psalm also the exclusion—
depends on divine judgment. And the central terms of rasa' and saddtq,
together with the positive and negative qualification of the I and the
enemies, must reflect the significance of the divine intervention connected
with categories of examination.
In this respect, Psalm 5 is of special importance. This text explicitly
links a normal enemy situation to concepts of divine examination in
connection with admission into the temple. The latter obviously corresponds to the situation of the I in Psalm 26. The prayers on the enemies
of Ps. 5.11 and on the fate of the I in 26.9 (cf. also 36.12-13) reflect a
common set of basic concepts: the evil are removed from the temple
and/or brought to a negative locality by Yahweh. Psalm 26 links, also, to
Psalms 15 and 24. As suggested by Vogt, Psalm 26 must somehow be
connected to the situation48 of these psalms (cf. above). And while Psalm
26 does not contain any explicit references to enemies,49 Psalm 5 clearly
links the enemy situation to the situation of divine examination connected
with dwelling in the temple.50 Immediately following vv. 9-10, the
48. In our connection, the term 'situation' does not refer to speculations on cultic
setting, but to literary categories, with a combination of motifs related to dwelling in
the temple and the description of the 'stayer's' qualifications and fate, connected to a
religious paradigm. For a carefully considered presentation of the cultic setting of
Ps. 15, cf. especially Beyerlin, Weisheitliche-kultische Heilsordnung, pp. 90-97. To
Beyerlin the textual evidence of Ps. 15 does not point to a 'Kontrol- und auf kein
Selektionsverfahren', but to the Sapiential confidence of the addressed as willing and
able to accept the teaching (p. 92). Thus, the 'Festkultteilnehmer' are inside the
sanctuary, in the outer forecourt, related to the gates leading into the inner forecourt.
On the other side, the application of the genre Isa. 33.14 with 'sinners' and
'polluted' related to dwelling in the temple—i.e. a connection parallel to Ps. 5.5ff.,
11—makes such a translation of the text into cultic reality rather problematical.
49. Which results in Vogt's separating the psalm from 'Gebeten Angeklagter',
'Psalm 26', p. 329.
50. Cf. also the parallel linkage of situations in Isa. 33.14-16 compared to Pss. 15
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Between Sheol and Temple
prayer of v. 11 must have a function similar to, for example that of
Pss. 27.12, 36.12, 43.1, 140.2, 5, 9ff. and also mean 'Save me from my
enemies!'. Correspondingly, the prayer for guidance in v. 9 is linked to
the enemy situation.
In this way, Psalm 5 must reflect a complex situation. The blurring of
the imagery by the connections between the different motif groups must
reflect the stereotypical and allusive character of the literary expressions
of the basic situation.
The connection with Psalm 26 and further Psalms 15, 24 and
Isa. 33.14ff. in addition to Isa. 1.1 Off. and Jeremiah 7 stresses the
serious character of the divine examination for the I. This corresponds to
the self-qualifications of Ps. 5.3b-4 and 8 connected to the negative
statements vv. 5-7. As in 26.3ff., the I is primarily designated as notevil, with temple relationship for positive qualification. The relationship
to the temple is, in Psalm 5, expressed by the I as humble supplicant, in
Psalm 26 by his pure hands. But in both cases, the positive qualifications
contrast with the negative qualities of the evil and thus stress the character of the I as not-evil. The traditional character of these two negations
is stressed by the applications of Isa. 1.1 Off. and Jeremiah 7. The imagery
of the evil complacently standing in the temple (Jer. 7.8-10; cf. also
Isa. 1.12, and further Ezek. 8.16 on perverted orientation) corresponds
to the contrasts of Ps. 5.5-8. And the 'unpure, bloody hands' related to
supplication in the temple in Isa. 1.15-16 correspond to the imagery of
Ps. 26.6-7.
The I as a contrast to the evil—together with the situation of supplication—demonstrates that the I is an object for divine examination.
Compared to the paradigms of the righteous and the evil, the I and his
enemies are beings 'in between', their fate dependent on the divine
judgment. For the I, this state of 'in between' is expressed by the way
and guidance motifs of the prayer. As aspirants to dwelling in the temple,
the contenders, one praying for guidance on the way and the others
'cast out', represent opposite movements in relation to the two fundamental localities in the human universe.
This means that these applications of the motif structure could reflect
a theological understanding of humanity as representatives of different
types or states of being. The righteous and the evil represent the zenith
and 24. While the two psalms have no reference to the evil/enemies, Isa. 33.14 relates
the evil to dwelling in the temple while v. 16 describes dwelling in the temple by meal
motifs applied in the imagery of the accepted staying in a secure fortress.
5. Psalm 5: The Struggle to Dwell in the Temple
187
and nadir of human being, related to the divine presence in the temple
and as 'cast out', with Sheol for the implicit locality. The fate of the I
and his enemies is dependent on the divine judgment. But they illustrate
the different character of beings 'in between', the I defining himself as
not-evil, while the actions of the enemies define them with the qualities
of evilness. The applications of the motif structure in Isa. 1.1 Off. and
Jeremiah 7 (cf. also Isa. 33.14) demonstrate the versatility of the motif
structure and the shades of meaning inherent in the motifs. Here, the
worshippers coming to the temple are qualified as evil and threatened
with the negative fate. And to this transfer of roles is added a possible
second transfer, with the admonitions making the transition from evil to
'dweller' possible. Thus, as expressions for stereotypical forms of evilness,
the addressees are at least rhetorically supposed to be in a position of
possible change. Compared to them, the humble supplicant of Psalm 5
and the purified pilgrim of Psalm 26 represent advanced states of
religious being.
b. The Relationship of Text to Ritual Practice
These applications of the motif structure permit us to draw some conclusions about the type of language being used. It is natural to relate the
motifs in Psalm 5 to a background of ritual practice. Diverse ritual acts
could form the basis for the single motifs and motif groups, as, for
example, rites of prayer, of purification, of denunciation (also of selfdenunciation) by oath or incantation. Also more complex ritual situations
might be involved, as in the case of Psalms 15 and 24 traditionally connected to some special entrance ritual of examination or to some exhortatory proclamation connected with entrance into the temple.
The applications of the motif structure in Isa. 1.10-20 and Jer. 7.1-15
stress this connection to some ritual background and also provide a
firmer basis for suppositions about original settings for the language
involved than the traditional speculations based on the form of
Psalms 15 and 24. As we have seen, a number of motifs which describe
the ritual acts of the addressees correspond to the language of the Ipsalms: the 'You' bo to rd'a the divine face (Isa. 1.12) or to histahawd
le Yahweh (Jer. 7.2) or as parallel to 'dmad lipne Yahweh (Jer 7.10).
They sdkan (Jer. 7.3.7) contrasted to the divine hislik from 'my face'
(v. 15), while the positive fate in Isa. 1.19 is described by meal motifs. In
Isaiah 1, dwelling in the temple is connected to the 'spreading out of
hands' in front of the divine 'eyes' in a situation of prayer and related to
motifs of purification (vv. 15-16). In Jeremiah 7, the element nissalnu
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Between Sheol and Temple
v. 10 would refer to some situation of confession.
Such terms refer to the central motifs of temple entrance and
dwelling. The acts of the addressed You in these texts correspond to
those of the I and the righteous in Psalm 5. And in the prophetic texts,
these acts clearly refer to the normal ritual behaviour of any worshipper,
both entrance and worship undertaken as uncomplicated and habitual
acts of right religious behaviour.
Moreover, the confession of the people in Jer. 7.4 is usually understood to refer to temple ideology, reflecting a confession to the religious
significance of the temple. Added to by the introductory bdtah, this confession can be compared to the glowing declarations about the temple
which seem to function as the main qualification of the I as confessor.
Further, the self-description 'we are saved!', v. 10, must refer to categories of crisis, corresponding to the I-psalms.
This suggests a strong connection between the ritual behaviour of
the You in the prophetic texts and the I of the Psalms. As in the case
of Hezekiah's sickness in 2 Kings 20, the actors of Isa. 1.1 Off. and
Jer. 7. Iff.—at least prior to the prophetic invectives—must have been in
a position to identify with the I-figure, with, for example, Psalm 5 as a
fitting text for the prayer ritual suggested by Isa. 1.15.
On the other hand, the application of the motifs of entrance and
dwelling are completely different in the two sets of descriptions. To be
meaningful, Isa. 1.1 Off. and Jer. 7.Iff. obviously envisage some type of
unproblematical ritual entrance and dwelling in the temple connected
with normal religious behaviour, completely acceptable according to
tradition, now suddenly refused by the prophet. And correspondingly, in
none of these texts is the ritual character of these acts criticized, nor the
ritual qualifications of the addressees to enter the sanctuary questioned.
Obviously, the participants have neither undergone nor evaded any
kind of entrance examination as proposed in connection with Psalms 15
and 24, nor is the prophet making a personal twist to the ritual. The
blessed state in the form of 'dwelling in the land' or 'eating the goodness of the land' is removed from the categories of ritual temple entrance
and dwelling and related to the divine intervention. This corresponds to
the I-psalms, where the corresponding motif groups refer to miraculous
categories, with Yahweh related to those accepted as righteous.
Moreover, it is clearly impossible to translate the motif structure or
the specific applications of the motif structure directly into some ritual
pattern of the traditional Sitz im Leben mode. The versatility and subtlety
5. Psalm 5: The Struggle to Dwell in the Temple
189
of the motif structure demonstrated by the application of Psalm 5 compared to especially Psalms 26, 15, 24, and Isa. 33.14ff. together with
Isa. 1.1 Off. and Jeremiah 7, suggest that the motif pattern primarily is of
conceptual and ideological nature, applicable as a religious and interpretative description of human reality.
In this way, the motif structure must presuppose a backgroundin
normal ritual practice. Similarly, as demonstrated by Isa. 1.1 Off. and
Jeremiah 7 and also 2 Kings 20 and Isaiah 38, it is applicable to such
a practice. This suggests some kind of parallelism between religious language and ritual practice. Whatever manifestation represents the original
expression, some of the aspects of the relationship between ritual practice and religious language could be expressed by the sociological term
of 'symbol' and 'symbol system'. As meaningful, the language refers to
the temple institution and the religious-social experiences connected with
the normal temple cult, but with the emphasis on the connotations of
this experience as relatively independent and further developed concepts.
The relative independence of the religious language as related to
normal temple cult is stressed by its possible background in some type
of special religious practice. Connected with such milieus and expressed
in stereotypical literary expressions, this type of practice automatically
entails categories of rite and cult as relevant.51 But our fundamental
ignorance of ritual development in Israel, seen together with the traditional massive cultic interpretation of the Psalms in connection with
speculations as to Sitz im Leben, suggest that the terms of rite and cult
should be rather cautiously applied at the present stage of research.52
51. Cf. the staid opposites 'private' versus 'cultic' phenomena of the GunkelMowinckel controversy, e.g. Mowinckel, The Psalms II, pp. 18ff. The tenacity of
these categories is demonstrated by the discussion on the setting of Ps. 34 in
L.O. Eriksson, 'Come, children, listen to me!' Ps 34 in the Hebrew Bible and in
Early Christian Writings (ConBOT 32; Stockholm: Almqvist & Wiksell, 1991),
pp. 82ff. A 'cultic situation' is contrasted to a 'situation of fellowship and community',
including 'instruction, even preaching' (p. 88), the latter obviously found to be
non-cultic.
52. Possible models could be connected to von Rad's suggestion about different
types of temple rituals for different types of person, ' "Gerechtigkeit" und
"Leben"', p. 239, or to Gerstenberger's ideas about more private rituals taking place
outside the temple proper in individual crises of, for example, sickness, with a special
ritual personnel and participants proper for the rites in question, Der bittende Mensch,
p. 142, in addition to the types of setting connected with Wisdom texts, Eriksson,
'Come children', pp. 83ff. But also other models must be possible. Thus, the texts
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Between Sheol and Temple
For the character of the religious practice reflected in the I-psalms, the
connection between paradigm and biographical experience seems to be
significant. This connection is linked to individual acceptance of the
paradigm in the form of identification, related to categories of integration and internalization of the paradigm. Centred round ideas of intimate
relationship to Yahweh and experience of the divine presence, the character of this practice must have been profoundly 'religious'.
The basic linkage between this practice and the normal ritual behaviour
is demonstrated by Isa. 1.1 Off. and Jeremiah 7. As applications in Youform, the prophetic texts are parallel to the applications of the I-psalms,
immediately presenting the ideals of a religious elite as relevant for all
worshippers. On the other hand, they are significant for our understanding of the underlying religious practice. With the addressees
identified both with the negative and positive paradigms, the importance
of processes of identification and internalization in connection with the
paradigm is stressed.
Related to the large number of I-psalms, it is natural to understand the
prophetic texts as dependent on the applications of the I-psalms. This
secondary character could also be demonstrated by the new criteria
of qualification (Isa. 1.16-17; Jer. 7.3-7).53 The list of virtues makes
relating to the social and religious association of the wzrz/z-institution considerably
widen the scope of possible ritual behaviour, H.M. Barstad, The Religious Polemics
of Amos. Studies in the Preaching of Amos 2,7B-8; 4,1-13; 5,1-27; 6,4-7; 8,14
(VTSup 34; Leiden: Brill, 1984), pp. 127-42. To the present author, the ritual life of
Beth-Shan during the reign of Sethi I and Ramses II offers an especially intriguing
model for the visualization of interconnected types of ritual. According to Patrick
McGovern, Department of Oriental Studies, University of Pennsylvania, the archaeological evidence points to three levels of religious activity within one contained
community: the official state religion, the cult in the 'Workers' Temple', and finally
private cult in the homes (in private communication during the annual meeting of the
Norwegian Old Testament Society, Oslo 1991). Nor need these models be mutually
exclusive, but could be added to each other: the cult in the temple 'proper' related to
interests of state and sub-groupings of official importance could co-exist with other
religious strata centred round specific interests of social sub-groupings connected
with blood or profession etc. and specific places of meeting in addition to religious
activity connected with the interests of the singular 'house'. Moreover, the present
composition of Exod. 12 demonstrates the Paschal ritual as a combination of
collective gathering and private family/'house' rituals, 1 Sam. 1 that regular pilgrimage
to the temple could include non-regulated 'ritual' behaviour connected with rather
private interests.
53. Cf. also the addressed related to dwelling in the 'Land of the Fathers'. This
5. Psalm 5: The Struggle to Dwell in the Temple
191
conspicuous the lack of similar thora motifs in the self-qualifications in
the I-psalms. With a corresponding interest dominating Psalms 15, 24,
Isa. 33.14ff. and the definition of the saddiq Ezekiel 18 54 together with
33.1-20 and 3.17-21, the two prophetic texts could reflect a later stage
of application. Related to the I-psalms, these texts point to some need at
some time to combine the religious paradigm with positive requirements,
connected to the religious behaviour of the general population. In our
connection, the text group represented by Psalm 15 is of special interest.
Its stereotypical form together with its emphasis on the significance of
dwelling in the temple must reflect a new and codified understanding of
the qualifications for dwelling in the temple.
In their relationship to Psalm 5, Isa. 1.1 Off. and Jeremiah 7 could provide illustrations of this understanding introduced as something new, as
well as of situations which necessitated a new understanding of dwelling
in the temple. These texts would lose their rhetorical effect if they simply
represented watered down expressions of any entrance thora genre.55
The negative qualifications of the addressed worshippers, together with
the necessity of giving a determinate list of the required qualities, suggests that the addressees are as ignorant of the Gattung as of its supposed Sitz. But related to the I-psalms, the negative qualifications can
be seen as applications in You-form of the negative qualifications
of the evil. And with the required qualities presented as a series of
exhortations, the prophetic texts could represent a democratized application of the elite religious paradigm. Such a change to popular address
could also be reflected in the shift from dwelling in the temple to relationship to the land as the summum bonum.
Against this background, some tentative suggestions on the relationship of the I-psalms to normal cultic practice could be possible. The
religious language of these psalms is based on concepts derived from
reinterpretation of the temple motif corresponds to Exod. 15.13, 17 with the guidance
of the people from Egypt ending in permanent dwelling in the temple.
54. Cf. especially Beyerlin, Weisheitlich-kultische Heilsordnung, pp. 47ff.
pointing to some connection between Ps. 15 and Ezek. 18, 22.1-16.
55. Cf. also that Reventlow, 'Gattung und Uberlieferung in der "Tempelrede
Jeremias", Jer 7 und 26', pp. 337-38, finds the form of 'Einzugstora' disturbed by
the negative reference to 'words of falsehood' in Jer. 7.4, 8, understood to reflect the
intermixed genre of 'prophetische Scheltrede'. In the context of Ps. 5 and the related
texts, such forms can be seen as immediate applications in You-form of the negative
qualifications of the evil in the motif structure.
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Between Sheol and Temple
normal temple practice and ideology. On the other hand, the development of the concepts reflects a parallel practice connected with an elite
milieu of spiritual experience. Because of the connection between the
basic concepts of the religious language and the ongoing normal cult, it is
possible to suppose constant interaction between the two sets of
practice.56 Thus, the I-psalms could have been applicable also to prayer
situations connected with ordinary life crises (2 Kings 20 and also 1
Sam. 2.Iff., stressed by the connection between Psalm 5 and the
description of the worshippers in Isa. 1.1 Off. and Jeremiah 7). Finally,
Isa. 1.1 Off. and Jeremiah 7 could witness a secondary type of application,
with the elite ideals applied critically to the normal cultic behaviour. In
these texts, the application of the religious language is connected with a
reinterpretation of the paradigm, expressed by thorn motifs in exhortatory form. The lasting influence of this reapplication and reinterpretation
could be illustrated by Psalms 15, 24, Isa. 33.14ff. and by Ezekiel 18
together with 33.1-20, 3.17-21. Such an interest could also be related to
the indications of an exhortatory interest found in some I-psalms.
c. The I and the Enemies: Internalization of the Conflict
Psalm 5 adds to our understanding of the use of the enemies motifs in
these psalms. In this text, the enemies are described by two types of
motif in the parallel prayers, vv. 9-10 and 11.
Verses 9-10 link the enemies to the usual type of crisis. The prayer for
guidance is related to the enemy situation. And the following qualification in v. 10 describes the enemies as 'deadly talkers'. This corresponds
to most of the other texts, where some kind of linkage with way motifs
is the most common type of application.57 Within the categories of
locality, the enemy situation of crisis and divine intervention takes place
on the outside. Consistent with this type of imagery, with the enemies
56. Ps 118.19-21 makes it also possible to link the parallel 'esoteric' practice to
the temple institution, especially seen in connection with the language of the regulations of temple admittance Ezek. 44.1-3; Hauge, The City facing Death', pp. 8-9. On
the other hand, the reference to the Tents of the Righteous', v. 15, comparable to the
motif 'localities of the Evil', Pss. 26.4-5 and 84.11, shows that also the 'Gates of the
Righteous' could reflect conceptual applications of the gate motif.
57. 27.11-12; 26.4-5 (cf. also 84.11); 140.5-6; and 36.12-13 with a negative way
motif. Also the relationship between Pss. 27.1-3 and 4ff. and between 43.1-2 and 3-4
links the enemy motifs connected with the 'outside' to the motifs of 'coming to the
temple'.
5. Psalm 5: The Struggle to Dwell in the Temple
193
killing or somehow impeding the movement towards the temple, the evil
can be depicted as representatives of an alternative locality, contrasting
with the relationship to the temple (Pss. 26.4-5, cf. also 84.11).
Compared to this, probably central, type of imagery, Ps. 5.11 introduces a different type of situation. Seen in isolation, v. 11 could be
understood simply as a prayer for the death of the enemies, to be 'cast
out to the place of falling' (cf. Ps. 140.11-12). But related to the positive
contrast statements in vv. 12-13 and to the negative statements of vv. 57, v. 11 obviously refers to a more consistent imagery of the enemies
cast out from the temple.
This imagery corresponds to the parallel prayer in v. 9. Together, the
two prayers contrast two movements relative to the temple: the I led on
the way, the enemies cast out of the temple. This consistent imagery
implies that the I and the enemies are both contenders for dwelling in
the temple. The significance of such imagery is attested to by the elaborations of Isa. 1.10-20 and Jer. 7.1-15 and by the special introduction to
the questions in Isa. 33.14. Also the elaborations of the triumph scenes
of Pss. 23.5 and 27.5-6 illustrate the literary possibility of placing the
enemies in the sanctuary.
From these texts we can at the very least conclude that 'the enemies/
evil in the temple' reflects an established literary theme. The different
expressions of this theme make it natural to stress its literary and
ideological character. They can hardly reflect historical or cultic reality.
This corresponds to other elaborations of the enemy threat. In Psalms
26 and 84, the evil are depicted as representatives of the alternative
locality, while the enemies in 36.12 simply frighten the I away to a place
of falling. This is stressed by combinations of motif types similar to that
of Ps. 5.9, 11. Thus, in Psalm 42, the enemies as 'taunting' suggest that
they people Sheol together with the I, while the prayers of Ps. 43.2 refer
to a situation of struggle. In Psalm 26, the evil represent both localities of
temptation and are inhabitants of Sheol—the I who has resisted
'togetherness' on his way to the temple risks 'togetherness' in Sheol.
And while Ps. 27.1-3 refers to a scene of war from which the I is taken
to the temple, v. 11 links the enemy situation to the I related to way and
divine guidance. But in vv. 5-6, the scene of triumph is extended to
include also the enemies as present in the temple.58
These examples demonstrate the free and creative character of motif
58. Cf. also 23.5 with the enemies witnessing the sacred meal, while Isa. 33.16
describes a meal in a beleaguered fortress!
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elaboration. A stereotypical set of basic motifs is clearly given. But these
motifs seem to be of allusive and plastic character, the shape of the motif
application moulded according to the needs of the individual composition.
This must illustrate that the elaborations of the enemy situation do not
have a direct and literal relationship to historical or cultic reality, but are
of ideological character.
Thus, for the absurd scene of Ps. 5.11, the prayer should be connected
to the basic connotations of the motifs. With temple as contrast to Sheol,
the prayer must have a function which corresponds to, for example,
Ps. 140.11-12. Parallel to the I's being brought from relationship to
temple to Sheol in Ps. 42.5-8 or frightened to Sheol by the enemies in
36.12, the negative movement of death is implored for the enemies. In
this way, the imagery represents a natural extension of the conflict into
local categories. Especially with stay 'in the land' (Ps. 140.12) or 'in the
land of life' (Ps. 27.13; Isa. 38.11) as parallel expressions for the concept
of dwelling in the temple, it is natural that the actors are juxtaposed as
contenders for dwelling in the temple.
This could also suggest that the imagery of Ps. 5.11 together with
vv. 5-7 could be more significant than merely to represent an elaboration comparable to, for example, Pss. 23.5 and 27.5-6. The idea of the I
and the enemies locked in struggle for one disputed object corresponds
to the relationship suggested by the saddiqlrasa' concepts. Connected to
the categories of divine judgment, these concepts could make the
imagery of Ps. 5.11 an expression of the character of the conflict.
When we pay attention to the consistent negative qualifications of the
enemies as evil in these texts, the conflict as a contest for a common aim
seems probable. The general character of these qualifications transcends
the confinements of a straightforward enemy situation of mortal threat
and links in to a wider frame of meaning. They describe the enemies not
only as simply terrible (Ps. 27.2a) or as hostile and mighty (Ps. 27.3a),
but as generally 'evil'. This suggests that the conflict not is fully
described by the enemies seeking the life of the I, but has wider implications. In Psalm 5 the general character of vv. 5-7 is unnecessary as an
isolated motivation for the prayer of v. 11. But in contrast to vv. 12-13
and connected to the self-qualifications in vv. 3-8 and vv. 5-7 as a preparation for the prayers, vv. 9-10, 11 could provide a frame of understanding for the negative qualifications of the other texts.
The possibility of some wider implications is stressed by the
parallel self-qualifications of the I. They are linked to the idea of divine
5. Psalm 5: The Struggle to Dwell in the Temple
195
examination and judgment, and imply the same function for the qualifications of the enemies. Conversely, the category of rdsd'-hood is
relevant not only for the enemies, but also for the I. This is illustrated by
the prayers of Psalms 26 and 36 (cf. also 42.5-8), where the I is related
to the negative fate of Sheol in contrast to motifs of temple relationship.
Also, the I facing not only the enemies but Yahweh as the ultimate
threat (cf. in nuce the parallel descriptions of the past crisis and salvation
in Pss. 118.5, 13, 18 in addition to 26.9 in which Yahweh is the sole
subject of the crisis), the enemy conflict clearly is of a complicated
character. With the I as the central figure in these texts, the evil enemies
represent actualizations of the motifs which are relevant also, possibly
even mainly, for the I.
In this way, the imagery of Ps. 5.11 could reflect significant aspects
of the motif structure, with a type of conflict and role allocation
more subtle than a simple contrast of enemies in external conflict. This
can be related to the motif application of Isa. 1.10-20 and Jer. 7.1-15. In
these texts, the contrast of the central figure and the evil is internalized.
The contrasted roles of the motif structure are both allocated to the
addressed You. This is elaborated by a threefold exposition.
The addressees are related to the temple as enthusiastic worshippers.
In their ritual acts connected to supplication (Isaiah) and confession
(Jeremiah), they perform acts which correspond to those of the selfdescriptions in the psalms—there clearly described as meritorious.
With the divine examiner differentiating between outer ritual behaviour
and real religious contents, the pious worshippers are identified as evil,
deserving the negative fate of death (Isaiah) or 'being cast away'
(Jeremiah). But the ritual actors, denounced as really embodiments of
the role of the evil, are not bound to enact the negative role. The exhortations presuppose that the condemned evil can change their roles and
qualify for the positive fate. In this way, the seemingly fixed roles of the
I-psalms are dissolved by being related to one set of actors who embody
a series of roles. The conflict between different sets of actors is internalized as expressions of inner attitudes and real acts. For the decisive
transition from one role to the other, categories of identification or role
assignment are central. These include both the divine intervention and
human choice/acts. The divine intervention—both as examination and
judgment/execution—clearly is important. This is illustrated by the worshippers qualified as evil and threatened with the negative fate. But the
contrast fate presented in connection with a series of exhortations
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Between Sheol and Temple
demonstrates that mental and psychological categories of a different
mind-set and a different way of acting are equally important. The human
actualization of the exhortations makes possible the role transition from
evil to dweller.
As we have seen, both aspects can be related to the I-story of the
psalms. The categories of divine examination and judgment are as decisive for the I, in addition to the character of these texts as prayers and
thus totally orientated towards the divine intervention as the central act
of the I-story. In the psalms, the I's supplication must effect a series of
events similarly open-ended. Related to the divine verdict, the selfqualifications must be of as little real significance as the complacency of
the worshippers in Isaiah 1 and Jeremiah 7. Thus, different versions of
the I-story imply change of role identification.
In addition, the volitional aspect and categories of religious practice
correspond to the I-psalms. With the I as the actualization of the
paradigmatic figure, both the positive ideal figure of the righteous and
the negative evil refer to categories of identification and internalization.
As a figure in between paradigmatic righteousness and paradigmatic
evil, the I can actualize the qualities and fate of both paradigms. Related
to religious practice, this means inner activities of a mental and emotional nature comparable to the three situations of the addressed You in
the two prophetic texts.
This must have consequences for the function and application of the
I-psalms. Earlier we found two types of application possible. As a genre,
the I-psalm reflects individual experience, with the I-figure as an embodiment of the paradigmatic figure. But there are signs of a secondary
application, with a wider group related to the experiences of the I. The
relationship seems to have consisted in forms of imitation and identification, with addressees or users related to the religious ideal in the form
of a person. This means that the role of T is open for new actualizations
(cf. above Chapter 4 and also below to Psalm 62). What can be ascertained within some texts is that the literary situation with the I-figure
described in a situation of prayer is extended to comprise a second
group of actors who are related to the experience of the I. But given the
fact of the textual fixation and transmission of the singular I-experience,
it must be possible to suppose further types of application, with the I as a
literary device for imitation and identification by some reader or listener.
Applied by the You of Isaiah 1 and Jeremiah 7, Psalm 5 would have
at least a threefold function. The enthusiastic and complacent entrants
5. Psalm 5: The Struggle to Dwell in the Temple
197
could have identified with the I-figure of Psalm 5. For the denounced
You, the psalm would have the function of a threat and an indirect
exhortation. For those influenced by the prophetic exhortations, the
psalm would have the function of promise and prayer, strengthening the
identification with the positive paradigm.
Moreover, with a type of application including both the I-figure and a
wider group of applicants, these three forms of application would not be
mutually exclusive, but could have been actualized for one situation of
usage. Depending on the religious status of the different members of the
group and even on the state of the individual member, a series of different
types of applications would be actual for the one situation of usage.
This must have consequences for the understanding of the evil enemies
in these texts. We have earlier found that the I and the enemies of these
texts represent actualizations of the positive and negative paradigms of
the righteous and the evil. For the I as confessor, embodying the positive
paradigm, this implies processes not only of imitation and identification,
but also of repudiation and renunciation. Psalm 5, especially when
related to the applications of the motif structure in Isaiah 1 and Jeremiah
7, stresses the significance of the latter, negative aspects. The conflict
between the confessor and the evil enemies can be internalized, with the
religious subject as a real or imagined actualization of one type and
potential actualization of the other type. All three states are a psychological possibility in the inner reality of one group or one individual at
the same time.
d. The Evil in the Temple: Numbers 16, 12, 2 Chronicles 26.16-21
i. Numbers 16. Numbers 16 is a good illustration of the motif structure
applied as a series of events and with a relationship of conflict between
two groups of actors contending for the same coveted goal of dwelling
in the temple. The description of the enemies represents a peculiar collocation of diverse materials. The composition of the disfavoured group is
uncertain,59 while the divine intervention is described as two acts directed
against two sets of evil (Num. 16.28-33,35). The collocation of materials—
59. According to H. Schmid, Die Gestalt des Mose. Probleme alttestamentlicher
Forschung unter Beriicksichtigung der Pentateuchkrise (EdF 237; Darmstadt:
Wissentschaftliche Buchgesellschaft, 1986), pp. 97-98, Num. 16 combines a series of
traditions on revolts against Moses (Dathan and Abiram) and against Aaron (Koran,
the 250 men, the Levites), united first orally and later as written text 'unter dem
Gesichtspunkt der Ahndung der Rebellion durch Gott'.
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Between Sheol and Temple
so striking that it surely must have been felt also by ancient readers—is
usually 60 understood to result from separate traditions of different
origin61 and historical significance for the understanding of the development of Hebrew priesthood62 and of traditio-historical development.63
It is generally accepted that the Korah materials and the juxtaposition
of Korah and Aaron is central for the present composition.64 Within this
story, the contention is connected with relationship to Yahweh expressed
in local categories as 'nearness'—expressed as hiqnb (Num. 16.5ab, 8,
10 with divine subject, 17, 35 with human subject, as qal 17.5) and
localization lipne Yahweh (vv. 7, 16, 17, 35, 17.5) in addition to other
terms for priestly function (vv. 9-10). Within the development of the
story, a special pregnancy is attached to the contenders' 'dmad lipne
60. Without refusing a composition of materials of different origin, the significance of Num. 16 as a literary creation by an author can be stressed. G. Richter 'Die
Einheitlichkeit der Geschichte von der Rotte Korach (Num. 16)' ZAW 39 (1921),
pp. 128-37, puts the blame for the present confusion in an originally masterful composition on the mistakes of a later 'Abschreiber'; Pedersen, Israel III-IV, pp. 283ff.,
694-95, qualifies Num. 16-17 as a 'typical ecclesiastical legend' (p. 286), entirely
from the post-exilic period, 'longwinded and badly told' (p. 695), but not the result of
independent stories mechanically combined by a redactor. When the literary coherence of the present composition is sought, the assertions by Brichto, The Worship of
the Golden Calf, pp. 1-44 on Exod. 32-34 as a 'Fable' composed by succeeding
'episodes' in a narrative structure are especially relevant.
61. Cf. especially S. Lehming, 'Versuch zu Num 16', ZAW 74 (1962), pp. 291321, while Aurelius, Der Fiirbitter, pp. 191-92, rejects a 'pure' traditio-historical
approach, understood to imply ch. 16 as the result of one author's compilation of
given traditions. Only a literary-critical analysis will suffice, the text a result of 'der
Zusammenfiigung verschiedener, bereits literarisch fixierter und treu wiedergegebener
Quellen'.
62. E.g. Wanke, Die Zionstheologie, pp. 24-25, 27-28; A.H.J. Gunneweg, Leviten
und Priester. Hauptlinien der Traditionsbildung und Geschichte des israelitischjudischen Kultpersonals (FRLANT 89; Gottingen: Vandenhoeck & Ruprecht, 1965),
pp. 171ff.; A. Cody, A History of Old Testament Priesthood (AnBib 35; Rome:
Pontifical Biblical Institute, 1969), pp. 172-73; Schmid, Die Gestalt des Mose,
pp. 88ff.
63. E.g. G.W. Coats, Rebellion in the Wilderness. The Murmuring Motif in the
Wilderness Tradition of the Old Testament (Nashville: Abingdon Press, 1968),
p. 184, on Num. 16 as the traditio-historical 'point of departure of the development of
the murmuring tradition'; cf. also Lehming, 'Versuch zu Num 16', p. 302.
64. E.g. PJ. Budd, Numbers (Word Biblical Commentary 5; Waco: Word
Books, 1984), p. 184, on Num. 16.1a, 3, 8-11, 16-17, 19-24, 26-27a, 32b, 33b as the
contribution of the 'author of Numbers'.
5. Psalm 5: The Struggle to Dwell in the Temple
199
Yahweh (v. 16) or as related to the door of the sanctuary (v. 18; cf. the
contrast v. 27b). Connected to the hostile gathering of the people (v. 19),
this special place refers both to the contended function as well as to a
place of judgment.65
Those admitted to 'nearness' represent certain qualities. Here their
special character is expressed by the terms of qddos and the divine bdhar
(v. 3 connected with Yahweh in 'their midst', vv. 5, 7) and the divine
hibdil (v. 9). The usurpers are negatively qualified, they 'gather against'
Yahweh (v. 11) and 'contemn' him (v. 30) in addition to the qualification
ofresa'im (v. 25), zdr (Num. 17.5), and the term ht' (v. 25, 17.3).
It is interesting to note that the relationship of the two groups is not
determined by a balanced description of human good66 and bad qualities.
Nearness is dependent on divine intervention. But the usurpers are
obviously 'bad' through their own acts of usurped nearness, their negative character revealed and punished through divine intervention.
Aside from this emphasis on the divine action, the story includes what
we might term a volitional form of qualification, in the negative form of
separation from the evil. Moses and Aaron are told to bdlin niph. form
(v. 21) and the people are told to 'did in niph. form (24, 27) and to stir
(v. 26) from the condemned. In the context of the I-psalms it is interesting that connected with this type of volitional language, the threat
of the evil is described as a relationship to dwelling places (cf. above to
Pss. 26 and 84.11). Staying with the evil means death.
The execution of this motif (vv. 19-27) stresses its significance for the
story as a whole. The description of the evil, v. 27b—peculiarly graphic
within a story told with so few embellishments outside the vital points—
leaves a moving impression of doom not only for the active revolters
but for 'their wives and their children and their small-trippers'. Prepared
by the repeated exhortations (vv. 21, 24, 26) and the statement of v. 27,
this scene must be important for the composition. This corresponds to
the dramatic description of the terrible punishment, vv. 28-34, and is
65. Cf. Delekat, Asylie, pp. 207ff., on the significance of the holy rock in the Zion
temple as a place of concrete ritual localization, connected with the plea for acceptance
of the asylum-seeker and the divine verdict; also Eichhorn, Gott als Pels, pp. 83ff.
66. Verse 4 might represent an exception by the much-discussed prostration of
Moses (e.g. Budd, Numbers, p. 181). Within the present context, his 'falling on his
face' can be connected with the immediately preceding accusation of 'self-uplifting',
and thus with a function corresponding to Num. 12.3 after the accusation v. 2. Such a
contrast can be compared with Ps. 5.6, 8.
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Between Sheol and Temple
emphasized by repetition. It is expressed both as predicted and as stated
fact, in addition to a third indirect description by the reaction of terror,
v. 34.
Moreover, as mainly connected to Dathan and Abiram (cf. the parallel
introductions in vv. 24-25 and 27), this scene should be connected to
vv. 12-15. These verses are usually thought to refer to an original
protest of 'going up' to the conquest of the land. But the repeated
refusal to 'did (vv. 12, 14) is related to the challenge of v. 12a, which
within the present composition refers to the preceding arrangements for
ordeal. The scene of vv. 12-15 prepares for the scene of separation,
vv. 19-27, where 'aid in niphal is the central term for the people
removing themselves from the place of death (vv. 24, 27), contrasting
the terrible ydrad to Sheol (vv. 30, 33).67 Such a connection is also
stressed by the parallel linking of the motif 'going up' and the position
of Moses as leader in vv. 12-15 and v. 28 in the context. Thus, vv. 12-15
should be connected to vv. 2Iff. as an intimation of the importance of
the theme of separation from the evil, preparing the description of revolt
and tragedy in v. 27b followed by the terrible climax of retribution.
Compared with the detail of vv. 28-34, the parallel and concluding
description of the punishment in v. 35—which after all refers to the central issue for the story as a whole—comes almost as an anti-climax. On
the other hand, it is continued in the following stories on the covering of
the altar, Aaron as atoning offerer of incense, and the theme of Aaron's
rod in ch. 17.
But in our connection, it is important that in both descriptions of
retribution, death is the outcome for the disfavoured group. For the
positive group, the sign of victory is obviously that their lives are spared
as they stand on the sacred place of nearness. But the story of Aaron's
rod in ch. 17 demonstrates that also positive aspects might form the
literary basis of a parallel story,68 with the emphasis on the hero of the
judgment.
67. This context—within the present composition—provides the basic frame of
reference for the understanding of the verb, while the application in hiph. form v. 13a
must have an argumentative function dependent on the connotations of the verb: 'We
left a good place to "go up" to a bad place!' corresponding with the refusal to 'go
up' from their tents.
68. To G.J. Wenham, 'Aaron's Rod (Numbers 17:16-28)', ZAW 93 (1981),
pp. 280-81, Num. 17.16-28 is a 'symbolic reenactment of the rebellions—described
in Num 16', the first set of traditions showing the status of Aaron in a negative
5. Psalm 5: The Struggle to Dwell in the Temple
201
The contrasts of nearness and death due to divine intervention which
dominate the present composition correspond to the I-psalms, with the
fate of death juxtaposed to relationship to Yahweh/dwelling in the temple
as the outcome of the story. For our purposes, the description in vv. 3034 is of special interest. Here, the fate of death is graphically described in
local categories with the usurpers in a movement of yarad from their
dwelling-places to Sheol. The contrasting movement of 'did (vv. 12, 14,
24, 27) is not qualified in the immediate context and could, similar to bdl
in niph. form (v. 21) and stir (v. 26), simply have the connotations of
removing oneself from uncleanness. Thus, the imagery of v. 34 simply
implies the 'going up' to have ended 'round' the doomed locality. But
within the received composition, the fate of the usurpers is framed by
the central issue of ritual 'nearness'. Within this context and subordinated to the revolt and test described in vv. 1-7, 16-19, the contrast of
'going down' to Sheol must be related to the dominating scene of
proper localization before Yahweh in the sanctuary (cf. the scene of
vv. 18-19 continued in v. 35). The proper place must be connected to
the challenges of vv. 12, 14b, 24-27 with implications of a special relationship to Moses as the representative of the divine presence (vv. 28-30
and also v. 15).69 For the usurpers, the fate of being 'swallowed' by the
earth or 'eaten' by the sacred fire contrasts with the fate of temple relationship, here by the movement of 'did related to Moses as 'sent'.70
In this way, the story of Numbers 16 can be related to the motif structure of the I-psalms, especially as expressed in the application Psalm 5
with the evil and the righteous contending to dwell in the temple. As to
basic motifs, the relationship of the two text types is so close that
Numbers 16 could be regarded as an application of the motif structure
as a story. For this application, the central motif of dwelling in the
temple is expressed in priestly categories of nearness connected to ritual
way, the second a positive demonstration.
69. Cf. also the imagery of the two scenes of the evil standing at the 'opening of
their tents' (v. 27b) and the contenders standing at the 'opening of the Tent of
Meeting' (vv. 18-19). Within the present context, and given the narrative economy of
detail, the two scenes must be connected, as an allusion to connotations of contrasted
localities (cf. below).
70. Ps. 52 provides a corresponding imagery, with the evil pulled out from 'his
tent' and 'the Land of Life' (v. 7), contrasting the I as tree in the temple (v. 10). A
similar motif elaboration can also be found Prov. 2.16-22, with Sheol and land for
basic contrasts, both localities related to corresponding ways. To this basic imagery is
added the motif of the evil 'house', here as sinking down into Sheol (v. 18).
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Between Sheol and Temple
function. Given the diverse materials of Numbers 16, it is possible to
conclude that for the author, the motif structure presented a literary
frame of formative and interpretative nature for the theological elaboration of existing traditions.
The special form of Numbers 16 could also be relevant for our understanding of the I-psalms. The categories of priestly nearness are central,
as is demonstrated by vv. 1-11, 16ff. This corresponds to the continuation in ch. 17 given to the covering of the altar from the ritual implements of the usurpers; Aaron offering incense in atonement for the sins
of the people, and finally the miracle of Aaron's flowering rod. Within
such a composition, the application of Num. 16.12-15, 20-34 is peculiar.
This is especially the case for vv. 28-34 which disturb the significance of
v. 35 as the decisive event in relation to the ordeal of vv. 19-20 and also
to ch. 17. In the same way, vv. 20ff. disturb the tension of the confrontation of vv. 19-20, both Aaron and, especially, Moses rushing into other
matters.
The inclusion of vv. 12-15 and 20-34 could of course reflect respectful but clumsy intercourse with ancient traditions impossible to disregard, with some well-meant scattering of proper names to give the
appearance of literary coherence. On the other hand, both the very fact
of inclusion as well as the elaborate, repetitive style of vv. 20-34 could
suggest that the verses express an important concern of the author.
This is stressed by the development of similar themes in Num. 17.1-5,
6-15, 16ff. As to motifs and literary coherence, these stories are strongly
connected with the fundamental motifs of ch. 16, centred round Aaron
in his priestly function as offering incense and as the one chosen for
ritual 'nearness'. Given the immediate connection between the AaronKorah themes of ch. 16 and the stories of ch. 17, the inclusion of other
elements, especially vv. 12-15, 25-34, cannot reflect respectful treatment
of original traditions impossible to disregard, but must on the contrary
represent a certain interest which formally disturbs this connection.
The two sets of repetitions, vv. 20-27 and 28-34, stress on the one
hand the theme of 'separating oneself from the evil', on the other hand
the impression of the terror of the doom. The exhortation is related to
the doom (v. 21): the addressees shall separate themselves from those
doomed. According to vv. 20-21, everyone in the 'congregation' (cf.
also 'edd as the addressee, vv. 24 and 26, qdhdl, v. 33, the 'whole of
Israel', v. 34) except Moses and Aaron are to be destroyed. Within
the context, the destruction announced refers to the ordeal scene of
5. Psalm 5: The Struggle to Dwell in the Temple
203
vv. 18-19 and is described in v. 35. In this way, vv. 20-34 represent an
intermission scene, with a description of the frantic efforts of Moses to
save as many as possible from destruction (cf. 17.9-10 in relation to
vv. llff.).
In the intermission scene, the emphasis is changed from the real contenders to the people in between. The repeated exhortations together
with the description in v. 27 of what resulted, stress the volitional aspects
of this situation, those heeding the instruction moving away, the hard
core remaining, standing defiantly in the door. The defiance of the real
evil is stressed by the introductory vv. 12-15.
The significance of vv. 20-27 together with vv. 12-15 as expressions
of a relatively independent theme of self-separation is also demonstrated
by the local categories. While the whole congregation really is present in
the situation of ordeal in vv. 18-19 at the sanctuary, the local categories
in the intermission scene give the author's concern illustration in the
imagery of the bodily movement away from or remaining at the
doomed locality of the tents of the evil. This motif elaboration can be
seen as a narrative parallel to the motifs of Pss. 26 or 52.3-7.
In this way, the addressees with their subjective reactions to the
warning represent the main actors in vv. 12-15, 20-27. As people in
between in relation to the aligned contenders of vv. 18-19, their role
corresponds to the addressed You of Isa. 1.1 Off. and Jeremiah 7. But
also the role of Moses is changed accordingly. In the intermission scene
he is acting not as contender, but as the caring exhorter. His position as
leader is certainly stressed both in vv. 13-15 and 28-30. In both cases his
leadership is connected with his challenge to 'go up'. This means that
the terrible doom of vv. 31-33 is connected to Moses' function as
exhorter, the divine intervention demonstrating that he is truly sent. And
the evil here are engulfed not as contenders, but as people in contempt
of Yahweh by their refusal with regard to the exhortation.
After this intermission on Moses as exhorter and the people's reaction
on his exhortation, v. 35 returns to the fundamental situation of
impending doom held in suspension (vv. 18-21), immediately followed
by the closely related stories of ch. 17. While the inclusion of 16.12-15,
(20-24) 25-34 formally disturbs the compositional frame, the parallel
story in 17.6-15 corresponds to the frame.
What characterizes 16.12-15, 20-34 compared to 17.6-15, is its presenting of Moses as the main actor, while the parallel story is centred
round Aaron. Secondly, the volitional aspects of acceptance/refusal are
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Between Sheol and Temple
stressed in ch. 16, in addition to the emphasis on Moses as the truly sent
exhorter. This is connected with a different understanding on how the
people are saved or doomed in the two stories. In the priestly narrative,
the atonement takes place by the magic application of incense. As soon
as the official is in function, the divine striking stops, so that the fate of
death or life depends exclusively on priestly efficacy. But in the Moses
story, the corresponding fate depends on willingness to heed the
warning and the appropriate acts of moving away from the place of the
evil. With the emphasis on the refusal and the resulting doom, Numbers
16 as a whole must have a function of admonishment and warning.
Dathan and Abiram are illustrations of stiff-necked stupidity causing the
destruction of themselves, their wives, their children and even their
'small-steppers'. In such a context and framed by the Moses references,
Num. 17.9-10 and 15, the parallel Aaron story of atonement would be
connected to this frame of meaning.
This can be connected with what we have found as typical for the
religiosity of the I-psalms, centred round volitional categories of identification with the positive/negative paradigm. Together with the applications in Isa. 1.1 Off. and Jeremiah 7, Numbers 16 stresses that the process
of identification also takes the form of transition from the role of evil to
the positive role. The way in which this theological interest is expressed
in Numbers 16 even suggests that at some definite time this interest
dominated the application of the motif structure. Here, this transition
from the negative to the positive state is linked to relationship to Moses
as the truly sent.
Moses as the authoritative expression of the religious ideal probably
represents a special and late stage of application, seen in relationship to
the other texts. But also, this type of application can be related to what
we have found as relevant for the genre of I-psalms. The importance of
ideological autobiography witnessed by this genre demonstrates the
interest in the religious paradigm as represented by human embodiments.
The very genre of I-psalm, with the I depicted in a situation of prayer or
confession, could reflect the paradigmatic significance of such a figure for
the religious address to a wider group. Thus, we have found indications
that a function of admonishment could be central for this genre. Together
with Jeremiah 7 and Isa. 1.1 Off., Numbers 16 represents an interesting
application of the motif structure outside the conventional frame of the Ipsalm, illustrating aspects of the religiosity and practice behind the
stereotypical literary expressions.
5. Psalm 5: The Struggle to Dwell in the Temple
205
Numbers 16 together with the parallel stories Num. 17.6ff. and
especially vv. 16ff. has repercussions for our understanding of the different versions of the I-story in the psalms. While ch. 16 is dominated by
negative aspects of revolt and usurpation, centred round embodiments
of the evil given to doom, Num. 17.16ff. unfolds the positive aspects of
the contention with the victorious hero as the central figure. This can be
related to the different versions of the motif structure in other texts. The
I-psalms represent versions with different emphasis on positive and negative aspects of the motif structure (e.g. Ps. 52 compared to Pss. 23, 26
and 84, and further the different elaborations Isa. 1.1 Off., Jer. 7, 1 Kgs
19.3ff., Exod. 33.18ff.). The connection of the fate of the I-figure as primarily related to the evil fate of death (e.g. Pss. 26 and 36) or to the
positive categories of dwelling in the temple (e.g. 42-43, 84), can also be
illustrated by the relationship between Numbers 16 and 17.
Within Numbers 16, the shifts of emphasis from the heroes of contention to the congregation as related to Moses or to the dwelling-places of
the evil, express how different aspects of meaning can be both differently elaborated and also combined as expressions of one story. The
unworried adding and subtle changes of different groups and persons as
representatives of the negative group in Numbers 16 is especially relevant for the execution of the enemy motifs in the psalms.
The resulting story is so peculiar in its form that it even tempts speculations on the character of the literary language applied. For the coherence of the story, the fundamental juxtaposition of Aaron and Korah is
obviously important. But in the development of the story, the evil are on
the one hand headlined as one group of rival usurpers, on the other
subdivided as localized to a place of contention in front of the sacred
tent door, and to a place of refusal in front of the tent door, the latter
subdivided into a hard-core group remaining on the place of refusal, and
those 'going up' to a place 'around' (16.34).71 Correspondingly, Moses is
partly a ritual rival located to the sacred locality, and is partly (with his
function contended) leading the exodus from the locality of the evil. The
I-psalms abound in corresponding literary operations connected to the
interplay of parallellismus membrorum. The results must presuppose
some mental fluidity most illogical for modern readers, but obviously
conventional for the ancient authors and readers. The elaboration of
parallels in Numbers 16-17, with parallel and repeated scenes of conflict
71. Cf. the similar elaboration Ps. 118.15 on the righteous jubilant 'in their tents',
while they 'really' should be locally related to the divine presence (vv. 19-20).
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Between Sheol and Temple
and divine intervention, can be compared to the psalm language.72
Fundamentally, this must be due to a common background of basic
motifs and concepts. But the result in Numbers 16-17 is so peculiar that
it is even possible to speculate that this type of narrative technique
utilizes effects comparable to the conventions of poetic literature.73
ii. Numbers 12. The received composition74 of Numbers 12 presents a
story closely related to that of Numbers 16. A conflict for religious
authority defined by categories of relationship to God, with a hero contrasted with challengers, is decided by divine intervention. Here the
special position is not defined as cultic 'nearness', but with a relationship
to Yahweh defined in personal categories of being 'spoken to' as prophets
(vv. 2 and further 6-8). In v. 8, the special mouth-to-mouth and vision
relationship of Moses—here meaningful as contrasted to 'riddles'75—
is even extended to contemplation of the divine form. Seemingly unnecessary76 in a context of prophetic function (cf. the connection between
72. In the context of, e.g., Ps 140.11-12, Num. 16.28-34 and 35 as parallel
expressions of one event would refer to conventional attitudes of literary discernment!
Also the 'unnecessary' repetition of the confirmation of Aaron's status in
Num. 17.16ff. would with such a background be a natural expression for a positive
parallel. On the other hand, the embellishment of the descent to Sheol must reflect
some special concern (cf. below).
73. Cf. the term 'Narrative Poetics', D.L. Christensen, 'Narrative Poetics and the
Interpretation of The Book of Jonah', in E.R. Follis (ed.), Directions in Biblical
Hebrew Poetry (JSOTSup 40; Sheffield: JSOT Press, 1987), pp. 29-48, applied in
connection with a metrical analysis of Jonah as consisting of both 'narrative and lyric
poetry' (p. 30), and also Brichto, The Worship of the Golden Calf, pp. 1-44.
74. According to G.W. Coats, 'Humility and Honor: A Moses Legend in
Numbers 12', in DJ.A. Clines, D.M. Gunn and AJ. Hauser (eds.), Art and
Meaning: Rhetoric in Biblical Literature (JSOTSup 19; Sheffield: JSOT Press,
1982), p. 97 a 'prime example of literary and traditio-historical disunity' for past
interpreters, related to three stages of growth: a Miriam story connected with the
Cushite woman tradition, a second stage characterized by Aaron as culprit together
with Miriam and a conflict for authority of mediation, a third stage centred
round Moses and his unique position. For an illustration of the traditio-historical
complexities concerned see, for example, Schmid, Die Gestalt des Mose, pp. 89-95.
75. Cf. the discussion J.S. Kselman, 'A Note on Numbers XII 6-8', VT 26
(1976), pp. 500-505 on mar'fc, v. 8a, concluding that vv. 6-8 is 'archaic poetry preserved by J' (p. 504).
76. And a later addition according to M. Noth, Numbers: A Commentary (OTL;
London: SCM Press, 1966), p. 96.
5. Psalm 5: The Struggle to Dwell in the Temple
207
vv. 2, 6b and 8aa), this description corresponds to the categories of
dwelling in the temple (e.g. Pss. 17.15, 27.4).
The enemy situation of vv. 1-2, 8b is comparable to Num. 16.1-3 and
the motifs of evil talking in the I-psalms. But here the slandering takes
place in secret and is revealed by Yahweh. The contrasted qualification
of Moses in v. 3 is a peculiar element in the context, introducing a secondary level of comment in relation to the narrative.77 Located immediately after the enemy description and qualifying Moses as 'meek', it corresponds to the similarly contested element in Num. 16.4. It can also be
compared to the application of self-qualifications in the psalms, as, for
example, Ps. 5.8 related to vv. 5-7. And corresponding to the function of
the self-qualifications in the psalms which motivate the prayed-for divine
intervention (e.g. Ps. 5.8 related to 9ff.), the qualification of Moses is
followed by Yahweh's intervention in vv. 4ff.78
Within the development of the story, the negative aspects of punishment are stressed (cf. vv. llff.). This corresponds to the application of
Numbers 16 and also to those I-psalms centred round the destruction of
the enemies as the decisive event (e.g. 140), while positive aspects of
acceptance and dwelling in the temple are expressed more indirectly.
But introduced by vv. 4-5, the divine description of Moses in vv. 6-8
must be seen as an expression of the positive aspects of the intervention
related to the victor of the conflict, corresponding to Num. 17.16ff. and
especially 16.28ff.79
77. A later addition which disrupts the close connection between vv. 2b and 4
according to Noth, Numbers, p. 95. But to Coats, 'Humility and Honor', p. 99, v. 3 is
now the centre of the unit. The old narrative tradition about a rebellion against Moses
has been transformed into a 'legend' which focuses on the virtues of Moses.
78. This would correspond well to Schildenberger's argument on 'Moses als
Idealgestalt eines Armen Jahwes', A la rencontre de Dieu. Memorial Albert Gelin,
pp. 71-72 (cited by Coats, 'Humility and Honor', p. 106 note 10). To Coats
(pp. lOOff.) the qualification of Moses as 'meek' conflicts with vv. 6-8, especially the
qualification of Moses as the responsible servant in v. 7. The word here has the
connotations of honor and integrity and is translated as 'honorable' (cf. also in
Moses, pp. 127-28), while Schmid, Die Gestalt des Mose, p. 73 relates the two
descriptions to their different contexts of meaning.
79. Within a traditio-historical context, vv. 6-8 disrupt the thematic development
of rebellion. Thus, to Coats, 'Humility and Honor', pp. 99ff., the interest in the
special qualities of Moses, vv. 3, 6-8 represents the transformation of the old tradition
into legend. It is possible that the special Moses-elements both in Num. 17-18
and 12 represent younger elaborations of given materials (cf. above). But with a
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Between Sheol and Temple
Thus, within this story, the divine glorification of Moses' virtues in
vv. 6-8 is addressed to the usurpers (vv. 5b, 8b, cf. also in v. 6aa).80
Within such a frame, and immediately followed by the punishment
(vv. 9-10), the vindication of Moses motivates the punishment. Such a
connection corresponds to the intercession scene in Numbers 16, where
the punishment of descent into Sheol demonstrates the position of
Moses as truly sent (vv. 28-31; cf. also 12-15). The composition of the
two stories must reflect a parallel concern for the understanding of
Moses as embodiment of the religious hero.81
In vv. 1 Iff. the clear connection with the enemy situation is changed.
The juxtaposition of righteous and guilty is dissolved, by the victor interceding on behalf of the defeated. This corresponds to the elaboration of
the motifs in Numbers 16. In Numbers 16 the scene of intercession took
place as an intermission. Here it represents an additional event, added to
the completed intervention scene. Yahweh has left and the cloud moved
away. In both cases the immediate structure of events which corresponds to the story in the I-psalms is extended. And also, in both texts,
the enemy group is broken up by juxtaposition of really evil and figures
in between. Here Aaron is the repentant sinner,82 interceding on behalf
background in a motif structure connected to conflict between enemies and divine
intervention, both negative and positive aspects are included and form a connotative
background for the literary application centred round one set of aspects. On such a
background, a formally disturbing elaboration which, for example, dwells upon the
positive qualities of the hero within a context given to the fate of the evil is a natural
exposition of the significance of the story.
80. This also implies that Moses may rest undisturbed in his 'meekness', cf. the
dangers of 'public celebration of deeds or character' according to Coats, 'Humility
and Honor', p. 102.
81. Cf. also Coats, 'Humility and Honor', p. 105 on the Moses function as intercessor in Num. 12, traditionally related to the prophetic or the royal function. A third
source is proposed, 'a pattern for depicting particular leadership figures that is not
limited to one institution', derived from folklore and described as 'heroic', cf. also in
Moses, pp. 155ff. Aside from the arguments of the present study linking these texts
and I-psalms, the model of Eichhorn in Gott als Pels on a number of I-psalms as
'Gebet des Mittlers' is of particular interest for the Moses tradition. On the other
side, it is obvious that the function of Moses in Num. 12 is defined as related to the
categories of the prophetic function, corresponding to the application of Num. 16-17
with the motif structure mainly in priestly categories.
82. According to Aurelius, Der Furbitter Israels, pp. 148, Exod. 9.27-33, 10.1619 and Num. 12.13 relate the intercession of Moses to a preceding confession of
sins.
5. Psalm 5: The Struggle to Dwell in the Temple
209
of Miriam. Aaron's plea is addressed to Moses, so that the real intercession related to Yah wen depends on Moses. Such a concentration on the
Moses figure corresponds to the intercession scene in Numbers 16.
In Numbers 12 the intercession is effective also with regard to the
really evil. But the normal pattern of retribution is upheld, here by the
application of local categories, with Miriam shut up outside the camp.
Within the motif development, the contended position of close relationship to Yahweh is contrasted by the confinement on the 'outside'.
iii. 2 Chronicles 26.16ff. 2 Chron. 26.16ff. can be related both to
Numbers 12 and 16. The punishment of leprosy and the concluding
spatial confinement on the outside corresponds to Numbers 12, while
the usurpation of priestly prerogatives of incense offering corresponds to
Numbers 16. On the other hand, in the Chronicles story, the local categories are more immediate with the priestly function connected to the
temple, contrasted with the house of confinement.
The introductory description v. 16a qualifies the king as 'evil'—with
his 'high heart' linked to his usurping entering of the temple to perform
rites reserved for the qualified (vv. 16b, 18). The king is confronted by
the positive group who similarly to Num. 12.3 and 16.4 are given
a positive qualification corresponding to the situation of contention
(v. 17b). Also here, the confrontation of the human actors is decided by
the divine intervention.
In this way, the story can be seen as a rather direct application of the
basic motif structure centred round the negative aspects of the evil for
main figure. With the connection to temple motifs, the story can be seen
as a parallel in narrative form to the events of Psalm 5 with the evil cast
out of the sanctuary.
The qualification of the place of confinement as 'house of freedom'
could allude more directly to the connotations of stay on the outside
relative to dwelling in the temple, bet hahdpsit/hahopsut in 2 Kgs 15.5
and 2 Chron. 26.21 has been linked to the Ugaritic bt hpn related to the
underworld and translated as 'charnel house'.83 Isolated to the term in
the Kings version, the connection to a possible Ugaritic parallel term
could refer to different connotations.84 But in the Chronicles version the
83. W. Watson, 'Archaic Elements in the Language of Chronicles', Bib 53
(1972), p. 193; further J.A. Soggin, 'Tod und Auferstehung des leidenden
Gottesknechtes', ZAW87 (1975), p. 352.
84. T. Willi, 'Die Freiheit Israels. Philologische Notizen zu den Wurzeln hps, 'zb
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Between Sheol and Temple
significance of the term 'house of freedom' has been added to by its
contrast to the 'house of Yahweh' from which the king was 'cut off.
The compilation of the rare words hopsut and nigzar contrasted to
temple could correspond to the motif usage of Ps. 88.6 where the I in
Sheol is described as 'free among the dead' and like those whom
Yahweh does not 'remember, they are cut off from your hand'.85 The
emotive function of these terms is stressed by the frame of references to
the king's death (vv. 2lace, 23a), the king living 'cut off like the dead
until his death.
With this literary application related to the older tradition in 2 Kgs 15.5,
it is also a good illustration of how the motif structure can be applied to
given materials. By subtle additions, biographical references are connected
to a conceptual frame of religious implications. The biography is enlarged
and retouched into a paradigm of the evil, a warning valid for everyone.
The relationship of the Chronicles version to the older tradition is the
more interesting as Numbers 12 and 16 must also be the result of similar
processes of theological adaptation. Together these stories illustrate the
potential range of motifs applicable for the composers, and the corresponding flexibility of the basic motif structure as providing religious
depth to diverse materials.
The relationships between the three versions are especially interesting
with regard to the I-psalms as usually related to different social or institutional settings. The three stories must reflect a common motif structure. In particular Numbers 16-17 and 12, centred round a parallel situation of conflict related to 'nearness' and religious authority, with Moses
and Aaron as actors in both stories, must have a rather close literary or
traditio-historical relationship. Given this background, the change from a
conflict described in priestly to prophetic categories is remarkable. What
is common to these stories evidently transcends the usual criteria of institution and is applicable as a theological frame of interpretation for
diverse types of religious behaviour.
und drr\ in H. Donner, R. Hanhart and R. Smend (eds.), Beitrage zur alttestamentlichen Theologie. Festschrift fur Walther Zimmerli zum 70. Geburtstag (Gottingen:
Vandenhoeck & Ruprecht, 1977), p. 536, stresses positive aspects of a 'Haus des
Ruhestandes', while W. Rudolph, 'Ussias "Haus der Freiheit'", ZAW 89 (1977),
p. 418, understands the expression as an euphemism for 'Isolierhaus'.
85. Cf. also the use of nigzar, Isa. 53.8 and Lam. 3.54; Soggin, 'Tod und
Auferstehung', p. 352.
5. Psalm 5: The Struggle to Dwell in the Temple
211
iv. Conclusions: the evil as religious hero. These stories are centred
round the negative aspects of the motif structure, depicting the evil as
usurpers. But the varied inclusion of positive contrast figures—with
Moses and Aaron in Numbers 16-17 as the most active contenders in a
situation of confrontation, the Moses of Numbers 12 passively slandered
and not included in the situation of divine intervention, the priests of
2 Chronicles 26 trying to stop the usurper and divinely helped—illustrates
the more comprehensive background of connotations. The interest of
the exposition also results in different expressions for the happy end of
the story. It obviously can be satisfactorily expressed in purely negative
terms as the 'destruction of the evil'. But included in the destruction or
elaborated within different types of exposition, the positive aspects of
some kind of victory for the hero can be expressed. This corresponds to
the different expositions of the motif structure in the I-psalms.
In this connection, it is interesting to note the different expressions for
the contended aim. In the I-psalms, it has been convenient to use the
label 'dwelling in the temple' for a comprehensive aim. 2 Chron.
26.16ff. is an expression of the significance of local categories. But both
Numbers 12 and 16—the latter obviously closely connected to temple
categories—link the contention to what we have found as a central
aspect of dwelling in the temple, namely personal categories of intimate
relationship to Yahweh. The expositions of this relationship into categories of priestly and prophetic function in the two stories underline the
significance of the concept of a basic special relationship to Yahweh as it
is expressed in the I-psalms. On the other hand, these two stories are
interesting illustrations of the connection between the special relationship
to Yahweh and local categories of dwelling in the temple and contrast
locality.
Finally, these stories illustrate the religious significance of the figure of
the evil/enemy. In the I-psalms, we have found many indications that the
transference of the religious paradigm into biographical reality implies
the dissolution of the seemingly stark contrast between positive and negative figures in, for example, Psalm 140. The applications of Isa. 1.1 Off.
and Jeremiah 7 are expressions of such an interest. The expositions of
the motif of the evil enemy in the compositions of Numbers 16 and 12
stress the admonishing function of this motif.
In this way, Numbers 16-17, 12 and 2 Chron. 26.16ff. can be seen as
parallel applications of the motif structure centred round aspects here
labelled thematically as 'the evil in the temple'. A number of texts could
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Between Sheol and Temple
further be related to these stories. It has been proposed86 that the
Chronicles version has been influenced by the description of Isaiah's
temple vision in Isa. 6.Iff. The argument is based on the reference to the
book of Isaiah in 2 Chron. 26.22 and on the element nidmeti in Isa 6.5
understood similarly to Isa. 14.14 and Ezek. 32.2 to refer the usurper's
self-comparison with God. The central theme of hubris is related both to
the royal usurpation of Isaiah 14 and to the Eden myth in Genesis 2-3,
Job 15.8 and Jer. 23.18. Other elements of the Chronicles story are
traced to Lev. lO.lff. and 1 Kgs 12.33, 13.Iff., the story itself understood as eine eklektische Erzahlung compiled of elements from different
biblical stories.87
In a context of 'the evil in the temple', Zeron's ideas on the relevance
of the Eden tradition and the royal usurpation of Isaiah 14 are of special
interest. Ezek. 28.12-19 connects the fate of the usurper to local categories based on the contrasts of stay on the holy mountain (vv. 13-15)
being 'defiled' from the mountain and 'thrown down on the earth'
(vv. 16-17). Similarly to the parallel descriptions of punishment in
Numbers 16, the negative fate of being 'on the earth' is extended to a
fate of destruction by fire (v. 18).88 This corresponds to the introductory
address in vv. 2-10, with a local contrast of stay in the divine dwelling
'in the heart of the seas' (v. 2) contrasted to being 'made to go down'
to the grave to die 'in the heart of the seas' (v. 8). Parallel to the contrast
of divine dwelling/grave, here the fate of the usurper is described by
more obvious motifs of death (vv. 9-10 in addition to 8b).
In Isa. 14.4-20 the usurper is described by categories of movement
between contrasted localities. Different motif groups are used as parallel
expressions for the basic structure. Here the usurpation is described as a
movement of 'did up to 'heaven' to ydsab on the 'divine mountain'
(vv. 13-14), in contrast to the movement of ydrad to Sheol (v. 15 in
addition to v. 11). In addition, v. 12 connects the imagery of 'falling
from heaven' to the king as 'hewn down to earth', corresponding to the
fall from Eden-mountain to earth in Ezekiel 28. And in v. 8, the king as
86. A. Zeron, 'Die Anmassung des Konigs Usias im Lichte von Jesajas
Berufung. Zu 2.Chr. 26,16-22 und Jes. 6,lff, 7Z33 (1977), pp. 65-68.
87. 'Die Anmassung', p. 68.
88. Often understood as secondary additions, e.g., W. Zimmerli, Ezekiel 2. A
Commentary on the Book of the Prophet Ezekiel, Ch 25-48 (Hermeneia;
Philadelphia: Fortress Press, 1983), pp. 94-95, the seemingly different motif groups
can be seen as parallel expressions for connotations of the basic concept.
5. Psalm 5: The Struggle to Dwell in the Temple
213
'lying down' contrasts his former 'did as hewer up to the cedars of
Lebanon. Finally, the fate of the king as dead is described by motifs of
burial (vv. 18-20).
The connotative wealth of the basic motifs and the possibility for
individual literary expression suggested by the motif exposition in
Ezek. 28.2-19 and Isa. 14.4-20 is stressed by the application of the Eden
theme in Genesis 2-3. The connection to the local structure of Ezekiel
28 is easily recognizable, with the 'usurper' related to Eden and a
contrast stay on the outside, qualified as no relationship to the tree of life
(Gen. 3.22, 24) and relationship to 'addmd (v. 23 in addition to vv. 1719)89 / death (v. 19 in addition to Gen." 2.17, 3.3ff.).
The subtle literary elaboration of this structure in Genesis 2-3 is continued in ch. 4 with the contention of the brothers for divine recognition.
The connection to the basic motifs is illustrated by Cain leaving 'from
before Yahweh' (cf. also v. 14 on Cain hiding himself from the divine
face) to stay (yasab)in the land of 'moving' 'east of Eden' (v. 16).90 At
the same time the description of the negative place in vv. 12, 14 continues the motif exposition of chs. 2-3. While the negative fate for Adam
consisted in relationship to 'addmd (Gen. 3.23), such a relationship now
represents the positive fate, contrasted to a fate as 'out-cast' into
'tottering and moving', connected to a permanent threat of death.
In this way, a set of basic motifs centred round local categories of
sacred topography indicates a fundamental connection between these
stories, both as related to each other and to the motif structure of the Ipsalms. In these stories, dwelling in the temple and the main figure
described in movement relative to dwelling in the temple serve for an
ideological interpretation of human reality. The character of the evil is
described as usurpation linked to local categories. Even in the Cain story
where divine acceptance is the object of contention, the interpretative
frame links the story to basic localities. The flexibility of application is
striking. The usurper king can be localized to the sacred mountain to be
89. On the significance of the 'ground' motif, cf. especially A.J. Hauser, 'Genesis
2-3: The Theme of Intimacy and Alienation', in Clines, Gunn and Hauser (eds.),
Art and Meaning, p. 21.
90. Related to a basic concept of 'dwelling in the temple', the parallel relationship
of the motifs is natural; cf. on the other side the discussion C. Westermann, Genesis
1-11 (BKAT 1.1; Neukirchen-Vluyn: Neukirchener Verlag, 1974), pp. 421-22, on the
connection between 'Verbannung aus diesem Lebensraum' and the removal from the
divine face as removal from the divine wrath.
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Between Sheol and Temple
cast out due to his usurpation, or the usurpation is depicted as a movement of 'aid towards the coveted locality, in addition to the submotifs
which qualify the central motifs within the single text. In both cases, the
story of the main figure mirrors the story of the I in the psalms linked to
motifs of way or aspiration and dwelling in the temple. The basic events
of the motif structure characterize both the evil and the religious hero.
The present composition of Numbers 16-17 is especially important as
an illustration of the connection between the different individual applications. The narrative line of ch. 16 is linked to a scene of conflict centred
round the evil actors. And the story of Aaron's election in Numbers 17
demonstrates that this story is mirrored by a story centred round the
positive hero. In the same way, the added elaborations within ch. 16
suggest other connotations. Parallel to the evil usurpers standing on the
usurped spot of 'nearness', the evil refusing to 'go up' are localized to
their 'tents' as the anti-locality. In this subordinate scene, the group of
evil is dissolved into really evil and a group which heeds the warning of
Moses and separates from the negative locality and from Sheol.
Numbers 16-17 demonstrates the richness of connotations interwoven
within one composition. When one literary composition can bear such a
connotative load within the narrative development, it is easier to recognize the essential connection between the other stories. Thus, for example,
Genesis 2-3 and Ezekiel 28 or Numbers 16 and 2 Chron. 26.16ff. are
on the one hand independent literary expressions, on the other hand
parallel versions of given traditions, and could be related as parallel
expressions for different connotations within one story of usurpation.
While Genesis 2-3 is continued by the conflict story in ch. 4,91 and the
two versions of royal usurpation Ezekiel 28 and Isaiah 14 are immediately recognized as somehow92 connected, the pattern of connotative
interrelationship demonstrated by Numbers 16 is transferable to the
other texts.
What may be most important for the understanding of the I-psalms is
the treatment of the evil/enemy motifs. A number of these texts describe
the figure of the evil within the same stark categories of evilness as the
normal I-psalm. But with the evil motifs of, for example, Isa. 1.1 Off. and
Jeremiah 7 related to Psalm 5, the elaboration of the evil figure within
91. E.g. Westermann, Genesis 1-11, pp. 389-90.
92. E.g. Clifford, The Cosmic Mountain, p. 162, on Gen. 2-3, Ezek. 28 and
Isa. 14 representing some of the 'fragmentary references in Ugaritic and the Hebrew
Bible to the revolt in the heavens'.
5. Psalm 5: The Struggle to Dwell in the Temple
215
Numbers 16, 12 and especially Genesis 2-4 is of special significance.
Thus, Adam evidently represents the evil hero 'cast out', corresponding
to the usurper of Ezekiel 28. On the other hand, as the father of
mankind, he is a figure in between, siring both the evil killer and the
innocent victim and a new beginning represented by Shem. The significance of this elaboration of the evil figure is deepened by the further
development of the basic motifs in the patriarch biographies. Centred
round situations of fraternal conflict and the local categories of relationship to the land/dwelling in exile in addition to relationship to the father,
the motifs are developed into the final emotive scene of the contending
brothers united in Egypt to be blessed by the dying father and to wait
for liberation.93
Such an elaboration of the evil figure could of course be the result of
some major reinterpretation of the religious concepts involved (cf. above
to Isa. 1.1 Off. and Jeremiah 7 and also to Numbers 16). But even so, it
should be noted that the present composition of Genesis represents a
parallel emphasis on the significance of the loser and the victor of the
fraternal conflict. On the one hand, the composition prepares for the
concluding reconciliation in Egypt. On the other hand, the description of
the fate of the victor in the single biography both seen for itself and as a
preparation for the Moses biography is decisive for the exposition. The
subtlety of the composition and the vivid detail of each description of
conflict in each biography demonstrates the theological importance
attached both to the presence of the saddiq as well as to the evil figure
as religious hero. For the I-psalms, we have found both these categories
relevant for the I-figure as a being in between.
The narrative and prophetic texts also strengthen the impression of
the ideological function of the motif structure in the psalms. The basic
motifs serve for an interpretative frame, giving a religious definition of
states and stages of human being. This is the more interesting as at least
some of these narrative and prophetic texts represent compilations of
different types of given traditions, reshaped in the present compositions
(cf. especially within Numbers 16-17 and 2 Chron. 26.16ff. related to
2 Kgs 15.5). For this reshaping, the basic motifs seems to provide a
structural and connotative frame of a religious nature. The structural
aspect is mainly expressed through local categories, the main figure
93.
Hauge, 'The Struggles of the Blessed'.
216
Between Sheol and Temple
described within a conceptual space of dwelling and movement in
relationship to localities.
The connection to the motif structure of the I-psalms could deepen
our understanding of the connotative frame of religious feeling inherent
in these narrative and prophetic texts. The I-figure seems to reflect a
tradition of religious practice connected with categories of inner integration of the religious ideal related to biographical experience and centred
round 'sensory' experience of the divine presence. Such a background
could provide an interesting angle for the understanding of the connotative impact of these texts as not confined to problems of purely priestly
or prophetic or royal categories. As actualizations of the paradigmatic
figures, the heroes of the single text would have the function of mirrors
for the religious practice of everyone and applicable as paradigmatic
illustrations with, for example, a didactic or exhortative function. And
Genesis 2-3, given to a theme of acquisition of divine wisdom/ divine
life, and ch. 4 to a theme of acquisition of divine acceptance, might even
be comparable to Exod. 33.18ff. and 1 Kings 19 as critical evaluations of
religious practice and experience.
e. Temple and Anti-Temple: Exodus 32
i. Exodus 32 in the context. So far, it seems possible to see a structure of
basic motifs most easily recognized as reflections of some sacred topography, with temple and Sheol for contrast localities. A number of parallel
or sub-motifs represent the concepts. Land of living, land, mythic mountain or garden, or the priestly localization of nearness, in addition to personal categories of a relationship before the divinity or the divine face or
of a special experience of the divine presence, contrast with a fate of
outside. Aside from the basic connotation of death, the character of the
negative outside is expressed by contrast motifs which describe a state of
no-stay in the positive place (e.g. earth opposed to divine mountain or
heaven, cursed ground versus garden of trees, ground versus land of
moving in addition to the contrasts of the I-psalms).
Human reality is defined by relationship to these localities, connected
to basic movements of, for example, 'aid and yarad, in their turn connected to basic religious qualifications of, for example, saddiq and rasa'.
Dwelling in one of the localities is obviously bound to the corresponding
qualification (e.g. in Psalm 5). But the application of this motif structure
is dominated by the theological interest in human reality as a state 'in
between', with the religious qualifications connected to the fundamental
movements relative to temple and Sheol.
5. Psalm 5: The Struggle to Dwell in the Temple
217
This interest is expressed both by the I-figure of the psalms and the
theological significance attached to the evil figure in a number of texts.
Thus, the texts where the evil is located to the temple—as lone usurper
or in conflict with a contrast figure—could be seen as expressions of
this interest. The addressed You of Isa. 1.1 Off. and Jeremiah 7 together
with the Adam of Genesis 2-3 are especially good illustrations of the
significance of the I-figure in the psalms as given to or threatened by the
negative fate.
But this interest in human reality as a state in between can also be
expressed by additional motifs of locality. The fundamental movements
of 'did and ydrad can be connected to elaborations of some interjacent
space between temple and Sheol.
Thus, the hero can be connected to motifs of way—defined as the
miraculous journey of divine guidance or in volitional categories as a
journey of trials and wholeness (for the latter aspect cf. above to
Psalm 26). But we have also found indications of the evil located to a
contrast place (cf. especially Pss. 84.11; 26.4-5; 42.7; Num. 16.12-15,
24ff.). As relevant localities for the dwelling of the positive figures in these
texts, these localities of the evil obviously refer to volitional categories of
human aspiration and choice. On the other hand, these localities are also
closely connected with the fate of Sheol or death. The Numbers 16 story
provides a good illustration of this connection, with the localities of the
evil engulfed by Sheol (cf. above to Pss. 26.4-5 and 42.7).
In these psalms, the motifs of some contrast locality of revolt and
alternative aspiration are not elaborated. But the references could allude
to an important set of connotations. Aside from Numbers 16, the golden
calf episode of Exodus 32 illustrates this possibility.
Exodus 32, both seen in itself94 and related to the context, represents
complex traditio-historical problems.95 When we approach this text from
94. Lehming, 'Versuch zu Ex. XXXII', p. 50, claims to have identified 12 layers
of tradition within ch. 32!
95. E.g. on the one hand, Aurelius, Der Fiirbitter Israels, pp. 57-126 on ch. 32 as
originally 'eine eigene Einheit', added to chs. 19-24 and later extended by 33-34
(p. 60). On the other hand Moberly, At the Mountain of God: Story and Theology in
Exodus 32-34 (JSOTSup 22; Sheffield: JSOT Press, 1983), pp. 185-86, on the final
redaction of Exod. 32-34 as a literary unit by the 'Yahwist', identified with the 'level
of pentateuchal redaction which is generally considered to be the earliest', tentatively
dated to the tenth century. To Brichto, The Worship of the Golden Calf, Exod. 3234 as a 'Fable' represents one integral narrative of succeeding 'episodes', to be analysed by 'the tools of literary criticism'. To PJ. Kearney, 'Creation and Liturgy: The
218
Between Sheol and Temple
an interest based on the motif structure of the I-psalms, the significance
of local categories of ritual localization is striking. This is underlined by
the parallel version of the golden calf episode of 1 Kgs 12.26-30.
Whatever the relationship between the two traditions,96 the 1 Kings version connects the golden calf motif to categories of temple and antitemple, expressed by the stark opposites of worship in Jerusalem and
alternative sanctuaries. This provides a good illustration of the significance of the ritual localization in Exodus 32. On the other hand, the
subtlety of the Exodus composition vastly transcends the other version.
Traditionally the literary context of ch. 32 has been sought in ch. 24,
due to chs. 25-31 being understood as a later insertion. This context
implies a basic contrast between the function of Moses and Aaron as
well as between the worship of the people guided by Moses or by
Aaron. Even when the present composition97 is understood to include
also chs. 25-31 as part of the context, this contrast of Moses and Aaron
is striking. The worship of the golden calf depends on the absence of
Moses (32.1; cf. the refusal in Num. 16.13 with a parallel repudiation
connected to Moses as the leader of the people's 'did). The narrative
frame juxtaposes the Moses of ch. 24 ascending the mountain to mediate
the ritual instruction of chs. 25-31 and the Aaron of ch. 32 receiving a
P Redaction of Ex 25-40', ZAW 89 (1977), pp. 375-87, Exod. 25-40 is a special
composition centred round a 'unifying framework' of creation- fall-restoration which
corresponds to the structure of Gen. 1-9.17 (p. 383), seen as the product of the
'original P author' and related to similar cosmogonic ideas of Second Isaiah (p. 386).
96. E.g. Coats, Moses, p. 174; Aurelius, Der Fiirbitter Israels, pp. 75ff.; and in
detail Lehming, 'Versuch zu Ex. XXXIT, Moberly, Mountain of God, pp. 162ff.
97. Maintained as relevant in spite of, for example, J.I. Durham, Exodus (Word
Biblical Commentary 3; Waco: Word Books, 1987), p. 417 on 'recent assertions of a
fundamental unity' as 'in some cases purely imaginary', related to among others
Childs and 'above all Moberly'. Cf. also L.G. Perdue, The Making and Destruction
of the Golden Calf—A Reply', Bib 54 (1973), pp. 237ff., related to S.E. Loewenstamm,
The Making and Destruction of the Golden Calf, Bib 48 (1967), pp. 481-90, with
the rejoinder of the latter The Making and the Destruction of the Golden Calf—a
Rejoinder', Bib 56 (1975), pp. 330-43; and generally the references is Schmid, Die
Gestalt des Mose, pp. 35ff. Durham's own sensitive treatment of the final form of
Exod. 32-34 illustrates the possibilities of an approach which does not treat the
present composition as a mindless compilation of revered traditions (the editor a
'monument of incompetence', according to Brichto, The Worship of the Golden
Calf, p. 4), but as the work of, for example, some 'Ex' who based on collections of
older traditions 'put the stamp of his theological outlook upon them', Knight,
Theology as Narration, p. xi.
5. Psalm 5: The Struggle to Dwell in the Temple
219
contrasting instruction from the people.
This contrast is connected to categories of localization. In the received
composition of ch. 24, the significance of Moses on the mountain related
to the divine presence is partly expressed by the awed descriptions of
the mountain (vv. 16-17) framed by the repetitive vv. 15 and 18. It is
also partly negatively underlined as something very special by the
instruction in vv. 1-2 and its execution in vv. 12ff. Within this frame, the
descriptions of the ritual events in vv. 4-8, 9-11 and the final ascent in
vv. 12-18 suggest three basic98 levels of local nearness, with the general
worship at the foot of the mountain, the sacred meal/vision up in the
mountain, and the ultimate summit on God's mountain. The significance
of these categories is stressed by the general emphasis on ritual localization in the elaborations of the Sinai traditions." In addition, a similar
hierarchic order is presented in connection with the final descent from
the mountain in ch. 34. Referred to the same categories of relationship to
the divine presence (v. 30)—now radiated by the mediator100—the
descending Moses is related to Aaron and the leaders, then to the people
(w. 31-32).
In this way, the connection between chs. 24 and 32 depicts a fundamental contrast of Aaron and the people ritually related to the calf at the
foot of the mountain and the awesome situation of Moses on the mountain related to God.101 Exodus 24.4ff. adds to this contrast by the
description of a proper worship for the people at the mountain's foot
when guided by Moses. Both stories describe events of two days, connected with ritual leaders, altar building and other motifs of ritual preparation and sacrifices. The contrast can also be linked to the motifs of
sacred meal in Exod. 32.6 and 24.9-11.102
Either as related to the fundamental contrast to Moses or to the
scenes of proper worship in ch. 24, the calf episode represents a mock
98. Cf. the ambiguity of v. 13. Connected to the events of Exod. 32.17 and
34.29ff., this ambiguity could reflect both an interest to separate Joshua from the
apostasy of ch. 32 and to protect the exclusiveness of Moses.
99. E.g. Hauge, 'On the Sacred Spot', pp. 46ff.
100. Moberly, The Mountain of God, pp. 106-107.
101. Childs, Exodus, p. 562, on 'the simultaneous action going on between God
and Moses on the top of the mountain and between Aaron and the people at the foot
of the mountain'; Moberly, The Mountain of God, pp. 48-49.
102. Underlined by Durham, Exodus, p. 422, who finds a contrast of 'celebration
of an obligating relationship' and 'an orgy of the desertion of responsibility'!
220
Between Sheol and Temple
version. The contrast between Moses and Aaron and the people represents
stark opposites of religious hero and evil, with the contrast connected to
the fundamental localities of mountain and a place separated from the
summit. But, in addition, the connection between chs. 24 and 32 introduces a more subtle contrast, with the worship at the foot of the mountain
related to two different scenes of worship. In relation to the same locality
below, the same people are active in the two scenes, whether they are
active in proper worship or anti-worship dependent on the presence or
absence of Moses. The subtlety of this change of roles is also expressed
by the identity of the worshipped divinity. In the connection between
Exod. 32.1 and 4 it is defined as identical with the proper divinity,103
with only the plural forms of vv. Ibcc, 4b as a subtle104 indication of
something not right. Not only the worshipping people and the sanctuary
qualified as below the mountain, but also the worshipped divinity are the
same in the two scenes. The formal legitimacy of the mock version is
given by the presence of Aaron the chosen priest and the rites defined
as hag leYHWH. These contrasts are comparable to the starker opposites of Jerusalem/alternative sanctuaries of 1 Kings 12, the latter also
formally Yahwistic, but with parallel techniques qualified as really apostasy. They can also be compared to the implied scenery of Isa. 1.1 Off.
and Jeremiah 7, with the pious worshippers in the proper sanctuary,
qualified as really evil.105
So far, we have related ch. 32 to the traditionally accepted context
of ch. 24. But in the present context,106 chs. 25-31 add more layers of
connotation for the proper understanding of ch. 32.
In ch. 25, the introduction vv. 1-8 connects the production of the
tabernacle and all its equipment to the voluntary gifts of the people (cf.
also Exod. 28.36-38 and further 30.12-16 ). This corresponds to the
emphasis on the people's gifts 32.2ff.107 (cf. below to Exod. 35.1-29;
36.3-7; 38.21, 24-31). The emphasis on the divinely inspired craftsmanship in 31.1-11, 28.3 (cf. below to Exod. 35.30-36.2; 36.8-39) can be
103. Moberly, The Mountain of God, pp. 46-47.
104. 'Heavily ironic' according to Moberly, The Mountain of God, pp. 47-48;
Coats, Moses, p. 174.
105. Cf. also the one locality 1 Kgs 18 as the sanctuary of Ba'al and Yahweh, the
one people related to two succeeding events of contrasted worship.
106. Cf. Childs, Exodus, pp. 533ff., 542 and especially Kearney, 'Creation and
Liturgy'.
107. Moberly, The Mountain of God, p. 47; Childs, Exodus, pp. 542-43.
5. Psalm 5: The Struggle to Dwell in the Temple
221
compared to the details of the production of the golden calf from the
people's gifts 32.2-4, 24, presented both as the result of craftsmanship
and of magic. Further, the regulations on the production of the tabernacle and the sacred implements concluded by the regulations on the
proper observance of the sabbath (31.13ff.; cf. the tent erected and filled
by the glory on 'the first day of the first month', Exod. 40.2)108 corresponds to the production of the golden calf ended by the proclamation
ofthehagleYHWH.
The present composition suggests a contrast between the 'children of
Israel' in chs. 25-31 and 'the people' in ch. 32. The first people are the
object of divine instruction, mediated by Moses, related to the divine
presence in the proper sanctuary revealed in vision (25.8-9 immediately
connected to the instruction, vv. 1-8). The other people, in the absence
of Moses ordering Aaron about, represent a mock version of worship.
In the same way, the composition contrasts two Aarons. In chs. 2531, the sanctification of Aaron and his sons represents one of the central
themes (Exod. 28.1-29.35; cf. further 30.18-21, 30-33). In the received
composition, this divinely described Aaron differs from the Aaron
described in 32.1-5, 21-25.109 The concluding v. 35 could reflect this
contrast. Verse 35b, with two final sentences and two originators of the
golden calf, is usually seen to be the result of editorial insertions.110 But
the present version represents a neat summing up of the story as told in
vv. 1-4 and of the two allocations of guilt in vv. 21 and 22-23. Alluding
to the gifts of the people and to Aaron's function, v. 35b refers to the
central themes of chs. 25-31 with an ironic contrast to the proper relationship as depicted in 28.36-38. The guilt of the people in connection
with their gifts is taken for granted both in 32.35 and in 28.36ff. But
while the Aaron of the divine regulations shall carry the guilt attached to
the gifts of the people, the people of ch. 32 are smitten because of what
was made out of their gifts not only by themselves, but also by Aaron.111
108. The concluding location of Exod. 31.13ff. within chs. 25-31 stressed by
Kearney, 'Creation and Liturgy', pp. 375ff., as expression for the connection between
Exod. 25-31 and Gen. 1-2.3.
109. The description of Aaron, vv. 21-24, confronted by Moses and putting the
blame on the people, can be compared to the confrontation Gen. 3.9ff.
110. The final sentence seen as, for example, 'a clumsy, secondary addition' by
Childs, Exodus, p. 557, defended by Moberly, The Mountain of God, p. 59, as an
attempt to express the dual responsibility.
111. This would imply a concluding function for v. 35 as a whole within the
222
Between Sheol and Temple
The contrast is also elaborated by the consecration of the Levites
story in vv. 25-29. These verses are usually understood as a reflection of
an original Levite tradition112 with a problematical relationship to the
context.113 Within the present composition, the story of the faithful
Levites contrasts with the role of Aaron and the people.114 The significance of this contrast is best seen when related to chs. 25-31, where the
consecration of Aaron is a central theme (cf. especially Exod. 28-29.35).
Thus, the 'handfilling' motif of v. 29—as a so called Levitenregel, often
seen as the kernel of the tradition115—corresponds to 28.41, 29.9, 29,
33, 35. While the designation of the priests in 28.1 is connected to categories of heritage, the designation of 32.26 is connected to volitional
categories, the children of Levi separating themselves from the rest of
the people as a response on the challenge 'who belongs to Yahweh?'116
This can be compared to the separation scene in Num. 16.24ff., there
also connected to a relationship to Moses. In this story, the serious
character of the separation is underlined by the consecration effected by
the blood of 'sons and brothers'.117
The contrast of the two Aarons of chs. 25-31 and ch. 32 is underlined
by the sons of Levi as positive contrast figures. In addition, Moses with
a function of atonement (32.30) can be related to the priestly function of
intercession (28.38 and also 28.29-30).
The contrasts between two Aarons and two peoples in chs. 25-31 and
ch. 32 is further elaborated in chs. 35-40 which recount how the divine
regulations of chs. 25-31 were carried out. The regulations and the narration correspond closely to each other. The differences could reflect the
present composition of ch. 32; cf. also Moberly, The Mountain of God, p. 59.
112. E.g. Schmid, Die Gestalt des Mose, pp. 19, 52, 67.
113. According to, for example, Aurelius, Der Furbitter Israels, pp. 66-67,
originally 'zu Hause' in Num. 25. As a central expression for the assertion of Levitic
priesthood, the tradition had to be connected, however badly, to the story of Israel's
first apostasy at Sinai.
114. Childs, Exodus, pp. 570-71; Moberly, The Mountain of God, pp. 54-55.
115. Aurelius, Der Furbitter Israels, p. 66.
116. Childs, Exodus, p. 571.
117. The Levites purging the fault of Aaron, according to Kearney, 'Creation and
Liturgy', p. 383. In such a case, the function of the Levites related to Aaron would
parallel the intercession of Moses related to the people. But while the story could
allude to different sets of connotations, the 'handfilling' motif of v. 29 would
primarily suggest the Levites as 'self-made' priests and substitutes for Aaron.
5. Psalm 5: The Struggle to Dwell in the Temple
223
significance of the intermittent chs. 32-34.118 In the received composition, the events are divided into two parts: chs. 35-39 and ch. 40. The
first part is introduced by a summary repetition of the divine regulations,
cited by Moses in 35.1-19, and given to the collection of the people's
gifts and the elaboration of the gifts into sanctuary and sacred implements. It is ended by the concluding 39.32-43, the people finishing the
effort and being blessed by Moses. The second part in ch. 40 describes
how the work was finished by Moses (v. 33). This is introduced by
divine regulations vv. 1-15, here addressed to Moses directly and not
cited as repeated by Moses to the people. Parallel to the people's
carrying out the instruction, vv. 16-33 describe how Moses erected and
furnished the sanctuary with the sacred implements. Finally, the work
finished, the sanctuary is filled by the divine presence (vv. 34-38).
When compared to chs. 25-31, this composition underlines the
significance of the children of Israel (as 'people' only 36.3, 5-6) and
Moses as the subjects of the sacred effort. Due to the ideological significance of the sanctuary, the description of Moses as temple-builder,
described as performing a thousand and one menial tasks on the 'first
day of the first month' without any help from either priests or Levites,
must have been deeply meaningful to the author. But the role of the
people is stressed too. Aside from the introductory 25.8-10, the production in chs. 25-31 is assigned to the addressed You, in 31.2-11 extended
by the inspired craftsmen effecting the instruction of You (v. 11). But in
chs. 35-39, the whole production, including the efforts of the craftsmen—who are considerately introduced to the children of Israel
according to 35.30ff.—are qualified as the work of the people in the
concluding 39.32ff., the people effecting the divine instructions mediated
by Moses. In addition, the subjective categories of emotional attitude in
the description of the people as cheerfully and exuberantly offering their
gifts (35.21ff., 36.3-7), stress the significance of the people as actors.
Given the received version of the text, it is natural to relate this
description to ch. 32. Contrasting with the negative worship by Aaron
and the people, chs. 35^0 describe the right worship by Moses and the
people. This suggests that in ch. 32, the theological significance of the
evil figure is mainly connected to the role of the people, Aaron primarily
having a subordinate role as the mediator of apostasy. This is expressed
118. Cf. especially Kearney, 'Creation and Liturgy', pp. 378ff., the differences
related to the connection to the intermittent 32-34; and also Moberly, The Mountain of
God, pp. 109-10.
224
Between Sheol and Temple
by the divine verdict of Exod. 32.7 and the development of the guilt
motif in connection with Moses as intercessor in vv. 30ff.119
The connection between chs. 32 and 35-40. in the present composition underlines the significance of temple categories for this theological
interpretation of the Sinai traditions. Within chs. 25-40, the 'temple' is
described in a threefold mode: as the object of the divine instructions
with a shape given by the vision of a heavenly model in 25.9, 40; as
man-made 'anti-temple' in ch. 32; and as rightfully created by human
hands in chs. 35-40. To this exposition within chs. 25-40 must be added
the relationship between chs. 32 and 24 (cf. above). That the mountain
motifs of ch. 24 are interwoven with the present composition of chs. 2540 is demonstrated by ch. 34. In all these expressions, the locality—as
some place related to the mountain of God in ch. 24, or as an enclosed
space connected to a building in chs. 25-31, 35-40, or as defined by the
golden calf and altar in ch. 32—is connected to the idea of divine presence and relationship to this presence, contrasted to the mock presence
of ch. 32. The significance of these categories120 is also illustrated by the
simple exposition of the 1 Kings version with the Zion temple juxtaposed to alternative temples.
The people, too, are described in three modes of being: as objects of
divine instruction, as following their own inclinations due to the absence
of the mediator, and as responding to the instruction mediated by
Moses. In all the three cases, relationship to the temple describes their
mode of being. In relation to the theological understanding expressed in
this composition, the crass contradictions related to the same group of
people must express a vital point. Dependent on the relationship to the
mediator, the same group of people represent the 'children of Israel' or
'the people', with their gifts immediately ready and transformable into
the true sanctuary or the golden calf. Parallel to the elaboration of the
people motif, we also find the Aaron figure described in three modes.
Within the received text, the same figure is seen as abruptly changing
119. According to Brichto, The Worship of the Golden Calf, p. 13, the function
of 'Episode E' (vv. 21-24) with Moses accepting Aaron's story, is to make Aaron
emerge from this story as 'hero, at best, or blameless, at the least', and thus preparing
the role of Aaron as the consecrated priest of chs. 35-40.
120. Cf. also the laws, Exod. 34.11-26, which correspond to the present context,
according to Moberly, The Mountain of God, pp. 132ff. a compilation of older laws
assembled for this context; also Brichto, 'The Worship of the Golden Calf,
pp. 32ff.; Childs, Exodus, p. 613, on the admonitions vv. 11-16.
5. Psalm 5: The Struggle to Dwell in the Temple
225
from the ideological description in the instruction into an object for the
people's wishes, and as transformed by the rituals of purification
(40.30ff. as the expression for vv. 12ff.). In a normal story given to
biographical verisimilitude such illogical changes would be impossible,
and this is reflected in the usual critical allocation of these phenomena to
different traditions and redactions. But as expression for a religious
interest, the crass contradiction—especially when we pay attention also
to the description in ch. 24—represents an elaborate expression of the
theological application of the concept of the evil. While the fundamental
motif structure juxtaposes the saddiq and rasa' figures as related to
dwelling in the temple, both the I-figure of the Psalms and a number of
other applications in different ways stress the significance of the religious
hero as a figure in between. On the way and/or threatened by the negative fate, the central figure is the potential actualization of the positive or
the negative ideal. Both the Aaron figure and—as central for the interest
of this composition—the 'people' could be understood as subtly
elaborated expressions of this interest, as embodiments of the different
roles of the motif structure.
Exodus 24-40 can add to our understanding of the relationship
between the motif structure and religious practice. We have found it
possible that the I-psalms could express a practice connected with the
integration of a religious paradigm into biographical experience. The Ipsalms suggest such an integration to have been related to psychic and
emotional categories of inner experience, including choice and aspiration
and development of inner wholeness (cf. above to especially Ps. 26).
The threefold description of the people in Exodus 25^4-0 can serve as
a dramatic illustration of these categories. As instructed, as left to their
own devices, and as effecting the instruction, the one set of actors represents three stages of religious reality. The elaboration of the motif of the
'urging heart' (Exod. 25.2; 35.5, 29, as 'lifting heart'; 35.21, 26; 36.2)
and 'urging spirit' (Exod. 35.21), ended by the scenes of 36.3ff., demonstrates the emphasis on total inner commitment for the realization of the
instructions. This emphasis is the more striking as the total commitment
seems completely unmotivated,121 especially in a context of ch. 32 with
121. Cf. also Moberly, The Mountain of God, p. 110, connecting this change to the
development within chs. 32-34. On the other hand, the understanding of Brichto,
'The Worship of the Golden Calf, of the story as a 'fable on idolatry' makes natural
a 'finale which is a masterpiece of non-sequitur' (p. 3), the single 'episode' a literary
illustration of some certain interest.
226
Between Sheol and Temple
a contradicting description of the people's real character. Whatever the
reason for this change, the crass contradictions in religious behaviour in
chs. 32 and 35ff., related to the same group of people within a short
time lapse, must reflect a definite theological understanding of humanity
as manifesting different modes of religious being. What characterizes the
different modes of being is the absence or presence of Moses mediating
the divine instructions (Exod. 32.1; 35.1).
Compared to other applications of the motif structure, the peculiar
concentration on temple motifs in Exodus 25-40 is rather special. To a
certain degree Psalms 84 and also 42-43 represent parallel texts formally dominated by relationship to the temple as the central theme. But
also in such a connection, the qualification of the people in Exodus 2540. as negative or positive producers of gifts for temple building represents a remarkable theological definition.
One explanation for this special character could be found in the relationship to the version of 1 Kings 12. The points of contact, together
with the independent literary elaboration of these points in the two texts,
could suggest that they represent individual expressions of some given
tradition characterized by a theme of temple building.
On the other hand, the description of Ezekiel's temple vision in chs.
40-47 represents a parallel expression of such a single-minded concentration on the religious significance of the temple as a building, here by
the central motif of 'measuring the sanctuary'. The relationships
between the actors correspond to Exodus 25-40. In Ezekiel 40-47 the
right temple is seen in a vision and experienced by the prophet in a
series of measurements demonstrated by the heavenly measurer. This
experience is to be mediated to the people who in their turn shall
measure the sanctuary (Ezek. 43.10-11). The MT of Ezek. 43.10-11—
usually heavily emended—makes a peculiar connection between experience of the architecture of the temple and the people's shameful experience of their transgressions and a new measuring of the temple.122
Obviously, here as in Exodus 25-40, relationship to the temple as a
building—in the form of gifts or in measuring—serves for a total and
emotive expression of religious behaviour. In both cases, the right relationship is contrasted with a past stage of negative relationship, the transition connected to mediation of the heavenly vision.
The two expressions for such a single-minded concentration on temple
122. Hauge, 'On the Sacred Spot', pp. 49ff.
5. Psalm 5: The Struggle to Dwell in the Temple
221
relationship can be compared to Jeremiah 7 and Isa. 1.1 Off. We have
found it possible that the two prophetic texts represent applications of
the motif structure connected to a reinterpretation of the religious
paradigm, expressed by lists of positive characteristics presented as conditions for stay which contrast with some established popular practice.
Exodus 25-40 and Ezekiel 40-47 could be seen as parallel expressions
of such a need. The special background to such a need could be connected to the special fact that in all these texts, the 'people' represent the
main figures, with the religious ideal presented by mediators.
The two types of text represent different sets of reinterpretation. In
the prophetic texts, the temple motifs are somewhat weakened, with
the evil in the temple juxtaposed to dwelling in the land and eating the
goodness of the land, while religious behaviour is connected to social
relationships. In Exodus 25-40 and Ezekiel 40-47, religious behaviour is
connected solely to relationship to the temple as sacred architecture.
The significance of this application—both with regard to the concentration on temple motifs and to the 'people' as the main figure—can be
illustrated by Exodus 25-40. In the present context, this composition
links to ch. 24. The stark contrast of Moses as the religious hero on the
mountain in an extraordinary communion with Yahweh and juxtaposed
to the people at the foot of the mountain is dissolved in chs. 25-40 by
the idea of a more sociable and lasting divine presence among the
people, linked to concepts of institutional cult with sacred space, and
sacred servants admitted into the sacred space. The emphasis on the
sanctuary as created from the people's gifts and as humanly-produced
corresponds to this idea of the divine presence transposed from the
exclusiveness of the mountain to 'among the people' (Exod. 25.8;
29.45-46).123 The whole of chs. 25-31 can be understood as a series of
instructions on how the divine presence can be introduced into the midst
of a human community without becoming the stupid travesty illustrated
by ch. 32. In such a context, the episode of the golden calf, demonstrating the qualities of the people as temple-builders when left to themselves, stresses the miraculous character of such a divine condescension.
So, chs. 25-40 could reflect a theological interest of democratization,
123. Cf. Durham, Exodus, p. 353, on a connection between chs. 24 and 25-31 as a
theological document extending 'that same Presence through a carefully presented
and interlocked sequence of symbols', and also Childs, Exodus, p. 537, on a similar
development from Sinai to Tabernacle and from the prophetic function of Moses to
the perpetual priesthood of Aaron expressed in chs. 35-40.
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Between Sheol and Temple
with the motif structure connected to Moses as the embodiment of the
religious ideal related to institutional cult. For this democratization, the
concepts of relationship to the divine presence and the qualities of the
persons admitted into relationship to the divine presence seem specially
important. Similarly, Isa. 1.1 Off. and Jeremiah 7 could reflect a parallel
process of democratization, with the religious paradigm applied to a situation of ordinary religiosity, primarily connected to social categories.
ii. Chapters 32-34. Such a process of application must be related to the
development in the subtle and seemingly haphazard compilation124 of
episodes in Exod. 32.21-34.35. Placed between chs. 25-31 and 35-40,
the complex composition must somehow125 describe the transformation
of the evil worshippers of the golden calf into eager and accepted producers of materials for the sanctuary and an accepted environment for
the divine dwelling.
From a context of the I-psalms, it is natural to stress the significance
of the evil as central to the theological interest. At the same time it
must be important for this interest that the transformation of the evil is
connected to the role of Moses. Related to the categories of the motif
structure in the I-psalms, Moses is the embodiment of the paradigm in
Exod. 32.21-34.35. Corresponding to the basic contrasts of Moses
on the mountain and the people/Aaron of the golden calf episode,
Exod. 33.7-11, 33.18-34.7, 29-35 continue the description of Moses as
especially related to the divine presence. In all three cases, the special
relationship is connected to local categories.
The emphasis on Moses as the religious hero is especially strong in
124. E.g. Aurelius, Der Furbitter Israels, pp. 91-126. To Childs, Exodus, pp. 34950, the different traditions were already combined in the oral stage of transmission,
both J and E sharing the same oral tradition. Thus, to Coats, Moses, p. 175, the core
of Mosaic tradition lies embedded in this story, connected with Moses as identified
with the people as intercessor, Moses as intimately related to God, Moses the
authoritative leader of the people.
125. Aside from the preceding note cf. especially the different attempts to stress
literary categories. Thus Kearney, 'Creation and Liturgy', argues for a function connected to an ideological pattern of creation-fall-restoration; to Brichto, 'The Worship
of the Golden Calf, pp. 20ff., chs. 33-34 as 'Part Two: The Aftermath' is related to
chs. 32-34 as 'an episodic narrative within a larger narrative framework' (p. 34),
the episodic technique making every discrepancy deliberate; while Moberly, The
Mountain of God, pp. 110, 186, finds chs. 32-34 to be an ancient literary composition
of literary skill and theological depth.
5. Psalm 5: The Struggle to Dwell in the Temple
229
Exod. 33.18-34.7 and 34.29-35. The latter episode concludes the development of chs. 32-34 and is followed by the story of Moses instructing the
people in 35. Iff. With this location, the description in 34.29ff. is parallel
to ch. 24 as the introductory frame for the instructions of chs. 25-31.
This corresponds to the motif development of the two descriptions. The
instruction delivered by Yahweh to Moses in 25.Iff. is mediated by
Moses to the people in 35.Iff. Exod. 24.1-2, 9ff. and 34.29ff. describe
the decisive ascent and descent of Moses to receive and mediate the
instructions. This correspondence is also seen by the parallel hierarchic
relationships to the divine presence in chs. 24 and 34.29ff. The three
levels of 24.4-8, 9-11, 12-18, with the general worship at the foot of the
mountain, the sacred meal/vision up in the mountain, and the ultimate
summit on God's mountain, correspond to the hierarchic order of
34.30ff, with the descending Moses related first to Aaron and the leaders
and then to the people. Given this background, it must be important that
while the hierarchic order in ch. 24 is related to the divine presence on
the mountain (cf. also the two different visual impressions in 24.10, 17),
in ch. 34 it is related to the radiance of Moses (v. 30) and to Moses as
'talking' (vv. 31, 32-33).126 The special emphasis on the visual impression of Moses's face—as radiant or sprouting divine characteristics127—
is located in a context which includes an episode centred round the
impression of the divine face in Exod. 33.18ff. and an episode with the
golden calf for substitute. The extraordinary imagery states that for the
people, the relationship to the divine face128 is mediated through the
shining face of Moses,129 likewise unbearable to be seen unveiled.130
126. Moberly, The Mountain of God, pp. 106-107.
127. Moberly, The Mountain of God, pp. 107ff.; Coats, Moses, p. 174 on Moses
endowed with horns, in both cases related to the golden calf as substitute for Moses
(Exod. 32.1).
128. On the significance of this motif for ch. 33 as a whole (cf. also vv. 11, 14,15),
see Moberly, The Mountain of God, p. 80.
129. The implications of the imagery could be deepened if categories of creation
are present for the composition as a whole, as argued by Kearney, 'Creation and
Liturgy', pp. 375ff.; cf. also Moberly, The Mountain of God, p. 108 referring to Gen.
1.26 for a parallel to Exod. 34.30ff.; and especially Brichto 'The Worship of the
Golden Calf, p. 44. The golden calf and Moses, described as contrasted mediators
for the divine presence among the people, the divine presence given concrete visual
expressions as mock image and 'real' radiation from a human face, could reflect the
connotations implied in the concept of humanity created in the divine 'image'.
130. While v. 33 is connected to the immediate episode of Moses' descent, the
230
Between Sheol and Temple
The episode of Moses in relation to the divine face, 33.18ff., reflects a
seemingly independent interest in Moses as the religious hero. In this
case, this is felt due to the peculiar relationship between v. 17 and
34. Iff.131 The transition from vv. 17 to 18 has caused particular concern
among exegetes ancient and modern,132 with Moses suddenly changing
from compassionate intercessor to supplicant for individual favours of
mystical character. The character of this special favour, connected to a
special localization and expressed as visual experience of the divine
presence, is comparable to the motif of beatific vision in the I-psalms.133
The supplication of Moses corresponds to the prayers of the I-figure in
the Psalms. The didactic repetition vv. 20, 23b—with the negated
theophanies of 1 Kings 19 as expressions of a similar interest—must
refer critically to an important tradition of sensory experience related to
God (cf. above to Chapter 3).
In this context, the concern must be connected to the golden calf
episode. Exodus 32 together with 1 Kgs 12.26ff. could be connected to
a forbidden practice of representations of Yahweh by any image—often
related to the special prescription in Exod. 34.17.134 At some late date,
the forbidden practice itself cannot have represented any actual aberration. But the fundamental character of the concepts involved—related to
the idea and experience of divine reality—must have been of enormous
significance for ideological interpretation.135 This could be connected to
33.18ff. as a critical reference to an important religious practice demonstrated by the I-psalms and connected to the experience of divine reality
general character of vv. 34-35 could prepare for the transition from ch. 34 to the idea
of the people's permanent relationship to God brought even closer down to earth by
the erection of the tabernacle and the sanctification of the priests in chs. 35-40; cf.
Childs, Exodus, p. 638, on 40.34-35 showing that an epoch is ended.
131. E.g. Aurelius, Der Fiirbitter Israels, pp. 103-104 on vv. 18ff. as addenda
called forth by the Theophaniebericht', Exod. 34.5-6.
132. Cf. the examples in Childs, Exodus, pp. 597ff.
133. Cf. Childs, Exodus, p. 596, on the story as originally given to a special individual revelation for Moses, changed to fit a context of sin and intercession and
restoration of the covenant, the visible appearance of Yahweh changed into a revelation
of Yahweh in terms of attributes relevant to the context.
134. Moberly, The Mountain of God, pp. 160-61, on 34.11-26 as a recapitulation
of the earlier laws relevant to the situation; also Brichto 'The Worship of the Golden
Calf, pp. 3 Iff.; Aurelius, Der Fiirbitter Israels, pp. 119ff.
135. E.g. Brichto, 'The Worship of the Golden Calf, pp. 41ff. on the 'metaphoric
usage' of 'idolatry'.
5. Psalm 5: The Struggle to Dwell in the Temple
231
as the goal of the religious practice. In such a context, the golden calf
episode could be seen as a subtle illustration of the dangers inherent to a
religiosity of 'sensory experience'. At the same time, the elaboration of
the divine face motif concluded by the radiating face of Moses demonstrates the proper experience of God. Parallel to the Elijah of 1 Kings
19, Moses is described as the embodiment of the traditional religious
ideal. At the same time, the description negates certain expressions of
this ideal, with the 'people' finally related to the institution of tabernacle
and priestly mediators. God glimpsed 'from behind', resulting in the
unbearable radiance from a human face, the 'stiffnecked' people lastingly
related to the divine presence enshrined in the tabernacle, are emotive
expressions for the proper experience of divine reality. The definition of
God as 'merciful' in the story of the special revelation for Moses
(Exod. 33.19; 34.6-7),136 corresponds to this interpretation.
Underlying this interpretation, some considerable practice of religious
experience must be involved. The central concepts expressed in some
few basic motif groups are elaborated in a richly textured compilation of
different traditions, their function subtly nuanced and constantly enhanced
with added elaborations. Only some rather advanced tradition of practice
and inner experience of mental-emotional character can explain such a
compilation.
Exod. 33.7-11 is a third example of the special interest in Moses as
the religious hero. In these verses, the character of Moses is described
by motifs of separated locality connected to a special relationship to
Yahweh. Here the separate locality is described as a tent—the Tent of
Encounter—placed outside the camp. The remarkably detailed descriptions of the reactions of the people when the tent is used (vv. 8, 10), give
a moving impression of the significance of the special encounter. The
elaboration of the tent motifs—juxtaposing the tent of the encounter and
the people's tents inside the camp137—must have a contrast function.
The one locality inside is given for the people, the other outside for the
specially qualified, being talked to 'face to face' by God (v. 11).
There is a basic contrast, met repeatedly and almost like a refrain, in
these chapters, between different motif sets which express related aspects
of religious being by local categories. The execution of this contrast in
136. Cf. Moberly, The Mountain of God, pp. 76-77, on the relationship between
33.18 and 19; alsoChilds, Exodus, p. 596; Aurelius, Der Furbitter Israels, pp. 124-25.
137. Cf. a parallel use of tent motifs in Num. 16.26-27, with relationship to the
'tent- door' as a contrast to 'going up'.
232
Between Sheol and Temple
Exod. 33.7-11, juxtaposing Moses and people as 'outside and inside the
camp' is especially comparable to the relationship of localities in chs. 2431 and 32. Moses on the summit and the people in their camp at the
foot of the mountain correspond to the 'horizontal' nature of the following contrast.138
Verses 7-11 are usually seen as a separate tradition with a complicated
relationship to the rest of ch. 33.139 In the present context, vv. 7-11 are
connected to vv. 4ff. and the description of the people's penitence. The
motifs of guidance in vv. 12ff. link to the bad words of vv. 1-3 and thus
suggest that a discourse on guidance is continued by vv. 12ff., vv. 4-11
describing intermittent scenes.140 Related to the sin of the people and the
intercession by Moses followed by the instructions on the tabernacle in
ch. 35, the Tent of Encounter in this context must refer to an interim
period.141
Due to the significance of the motifs, a wealth of connotations could
be implied.142 At the very least, the parallel of contrast localities in vv. 711 and in chs. 24-31 (cf. above) must be significant. This can be linked
to the ornament motif (vv. 4-6), the importance of which is stressed by
the repetitions.143 In the present context, this motif is linked to the
sorrow of the people and must function as an expression of penitence.144
The connotation for its usage must be sought in relation to the golden
calf episode.145 And with this connection, the motif usage alludes to the
138. Aside from the contrast of Num. 16.26-27 and also 11.10 (as related to
Deut. 1.27; Aurelius, Der Fiirbitter Israels, p. 182) cf. the opposite application of
'outside and inside the camp' in Num. 12.
139. E.g. Durham, Exodus, p. 443, on these verses as 'completely out of place'.
140. Cf. Brichto, The Worship of the Golden Calf, p. 23, on vv. 7-11 as a
'digression', but even so an integral part of the story.
141. Brichto 'The Worship of the Golden Calf, p. 23; Moberly, The Mountain of
God, pp. 63ff.
142. Cf. the preceding references to Brichto and Moberly in addition to Childs,
Exodus, pp. 592-93, on the 'meaning' of this story, in different, but equally possible
descriptions.
143. In a 'synoptic-resumptive narrative technique' according to Brichto, The
Worship of the Golden Calf, p. 22, with v. 4 for bottom line, while vv. 5 and 6 go
back in time, expanding the synopsis and explaining its meaning.
144. A 'sign of mourning' to Childs, Exodus, p. 589; to Brichto The Worship of
the Golden Calf, p. 22, a metaphor for Israel 'still standing under judgment'.
145. Cf. Moberly, The Mountain of God, p. 60, who refers to Gen. 35.4 and rites
of renunciation, the people removing the objects connected with the construction of
the golden calf.
5. Psalm 5: The Struggle to Dwell in the Temple
233
central gift motif in these stories, with the people related to some divine
representation as producers of fine materials. The structure of ornament
motifs followed by the description of the interim sanctuary in 33.4-11
corresponds to the connection of gifts related to the golden calf and the
sanctuary in chs. 32 and 25ff., 35ff.
The relationship to ch. 32 is the most immediate. The non-use of the
ornaments, connected to the people's sorrow and an imposed penitence,
contrasts with both the offering of gifts and the festivities of ch. 32. The
juxtaposition of the people's locality inside the camp and Moses related
to the sanctuary outside the camp corresponds to the juxtapositions of
mountain sanctuary and the people's sanctuary in in chs. 24-32. Such a
connection is also reflected in the Joshua motifs in Exod. 33.11, corresponding to Exod. 24.13. This suggests some kind of parallelism
between the sanctuaries of the two episodes. The people of penitence are
now related to a sanctuary stressed as outside and distant, and in addition qualified as put up by Moses 'for himself (v. 7). The interim character of this sanctuary apart is demonstrated by the erection of the
tabernacle, the people very much active in the preparations, although
this tent also is pitched by Moses (ch. 40), the new sanctuary qualified as
an expression of the divine dwelling in the midst of the people
(Exod. 25.8; 29.45).146
In this way, the actualization of the sanctuary as enshrining the divine
presence is developed in successive stages:
1.
2.
3.
The divine mountain which is connected to the vision of the
heavenly model, contrasted by the mock sanctuary inside the
camp;
the aberration resulting in the interim tent of encounter outside
the camp and contrasted to the non-sanctuary inside the camp;
and finally
the tabernacle inside the camp.
Within this development, the people are the central actors contrasting
with Moses, the religious hero. Similar to the Aaron of Numbers 12 and
the main part of the people who 'go up' in Numbers 16, the Aaron of
ch. 32 is separated from the people as the really evil who has to pay for
the golden calf (vv. 30-35). And, in chs. 33-34 the 'stiffneckedness' of
146. To the connection of the sanctuary as 'outside' and 'inside' cf. Brichto, 'The
Worship of the Golden Calf, p. 24; Moberly, The Mountain of God, pp. 63-64;
Childs, Exodus, pp. 592-93.
234
Between Sheol and Temple
the people forms a central theme, while the 'children of Israel' are the
central subjects for the instructions and the actualization of the instructions in chs. 35-40.
The contrast between Moses as positive figure and the people as the
negative figures is especially expressed in Exod. 32.9-10, 32-33.147 The
initial divine verdict of 32.9-10 corresponds to the normal conclusion of
the enemy situation in the I-psalms, with the people destroyed and
Moses made into a great people in their stead (cf. above to the similar
initial reaction Num. 16.21 with Moses and Aaron for positive contrast
figures). Verses 32-33 allude to a confrontation of this kind, with
Ps. 69.29 as a normal application of the book motif, connected with the
concepts of righteousness and life/dwelling in the temple.148 Seen in
isolation, the episode in Exod. 32.26ff. can also be related to a normal
type of confrontation. Similar to the 'going up' of Num. 16.24ff., a positive group separates itself from the evil. Here the representatives of the
evil are killed, the killers elevated to a special status.149
But similarly to Numbers 12 and 16, the normal enemy situation is
disrupted due to the intercession of Moses.150 For the connection to the
I-psalms, it is significant that the change in the people effected in chs.
32-34 is described according to the given categories of temple relationship. Corresponding to the qualification of Moses as the religious hero,
the people are especially related to the divine presence,151 in addition to
147. Usually seen as expressions for different late traditions, e.g. Aurelius, Der
Furbitter Israels, pp. 41ff., on vv. 7-14 as 'Einschub' dependent on the original
kernel of Deut. 9-10, p. 89 on vv. 30ff. as dependent on Amos and Hosea traditions
and the reconciliation scenes of the Jacob and Joseph-stories; on the other side
Moberly, The Mountain of God, pp. 50-51, 57; Coats, Moses, p. 175. To Coats, Exod.
32 and the function of Moses as intercessor represents the kernel of the Moses
tradition, also the suffering servant of Isa. 40-55 depicted within Moses categories as
expressed Exod. 32.31-32 (p. 208).
148. Isa. 4.3-4; 56.5; Ezek. 13.9; Mai. 3.16ff.; Dan. 12.1ff.
149. Cf. also the Carmel scene of 1 Kgs 18, the plus figure and the 'evil' related to
different gods within the 'same' sanctuary, the people 'in between' the two gods and
their representatives, the story ended by the people confessing Yahweh for the true
god and killing the negative representatives.
150. Cf. generally Moberly, The Mountain of God and Aurelius, Der Furbitter
Israels in addition to the emphasis on this function in Coats, Moses, pp. 175, 208-209.
151. Aside from the fundamental definition of the tabernacle in Exod. 25.8, 29.4546, cf. 33.2-3, 5, 12-17, 34.9, 40.34ff. and especially the happy result of the
intercession with the divine presence mediated by Moses, Exod. 34.29-35.
5. Psalm 5: The Struggle to Dwell in the Temple
235
their role as 'urged by their hearts' to present gifts and to build the
tabernacle.
The guidance and way motifs linked to the idea of divine presence in
Exod. 32.34, 33.1-5,12-17, 34.9 and 40.34ff. (cf. also 32.1, 23) can be
related to the basic motifs of the I-psalms.152 For the intercession, the
question of divine guidance represents the main problem. On the one
hand, this corresponds to the significance of guidance and way motifs in,
for example, Pss. 5.8, 27.11, 43.4ff. On the other hand, it is peculiar in
view of the composition chs. 25-40 as a whole, which primarily connects
the golden calf episode to the significance of the building of the tabernacle. But the emphasis on the guidance motifs corresponds to the concluding qualification of the tabernacle in Exod. 40.36ff. with the divine
dwelling and 'going up' as the sign for the departures of the people (cf.
also Num. 9.15-23). This must be significant in view of the qualifications
in Exod. 25.8 and 29.45 with the tabernacle as the place of Yahweh's
dwelling in the midst of the people.
The two qualifications of the tabernacle could be connected to the discussion of the form of divine guidance in the intercession scenes in
Exod. 32.34ff. In view of 23.20ff. ( cf. also 'light' and 'truth' Ps. 43.3
and the messenger 1 Kgs 19.5ff.), the opposition of Moses to the messenger as guide is peculiar.153 He evidently insists on something better,
connected to the divine presence 'in the midst of (Exod. 33.3, 5, 34.9)
or 'with' (Exod. 33.16) the people, and as 'face' (Exod. 33.14-15). The
divine face must be especially important in view of the significance of
the motif in Exod. 33.11, 18ff. and as represented by the face of Moses
in 34.29ff.154
These contrasts of special types of relationship could be connected to
the idea of the special relationship to Yahweh in the I-psalms. The confession and prayer of the I certainly refer to some basic relationship to
Yahweh in a situation of distress. The prayer for divine help links the
relationship to some miraculous intervention, in the form of, for example,
guidance on the way or salvation from the enemies. And the relationship
to the divine face in the sanctuary obviously refers to experiences of a
third kind. Thus, for example, Psalms 42-43 depict the I as related to
God when 'in Sheol' (vv. 9ff. in addition to the refrain vv. 6, 12, 43.5),
152. Cf. further the motifs of 'separation from the evil', 34.12-16 corresponding
to, for example, the obedient people of Num. 16.26ff. and to Ps. 26.4-5.
153. Moberly, The Mountain of God, pp. 61ff.
154. Moberly, The Mountain of God, p. 66.
236
Between Sheol and Temple
his being led on the way refers to other sets of experiences (43.3), while
the special arrival before the divine face marks a special event in the
story of the I (vv. Iff., 43.3-4). The narrative structure of 1 Kings 19 is
especially interesting in this respect, depicting Elijah as related to the
heavenly powers in the forms of the nourishing and sending angel and
of 'Yahweh's word', both clearly separated from the special experience
of Yahweh 'himself.
Such a background is the more relevant for Exodus 32-34 as the
special vision in 33.18ff. refers to categories of extraordinary experience
of the divinity. The beatific vision of Moses—also as somewhat veiled by
the divine hand—not only contrasts with the extraordinary relationship
described in v. 11, but also alludes to the central theme of the composition in chs. 25-40, especially when introduced by ch. 24. For this composition, 'relationship to God' represents the main topic, expressed in
a scale of different actualizations related to the different actors as
juxtaposed and in their different modes of religious being. Against this
background, the audacity of Moses in asking for the beatific vision for
himself corresponds to his presumption in asking for the real divine
presence in the midst of the stiffnecked people! The introductory
contrast of Moses on the mountain and the evil people in their camp
around the golden calf is shifted into a parallel relationship of extraordinary experience of God. For the people, however, the experience is
linked to Yahweh as the extraordinary guide and 'co-walker'.
Related to the motif structure of the I-psalms, this indicates that the
categories of dwelling in the temple are transferred to way motifs: the
divine face of the beatific vision is connected to the idea of divine guidance on the way. This corresponds to the concluding interpretation of
the tabernacle in Exod. 40.36ff.: the sanctuary is now the place for the
divine dwelling extended by the act of 'going up' related to the departures and non-departures of the people.
A new emphasis on categories of way can be related to the I-figure of
the psalms as a figure in between—related to the fate of the saddiqim
and the resd'tm. But the intercession scenes in chs. 33-34 suggests that
some special interest is expressed. Moreover, such an interest could also
be related to the critical attitude to the traditional religious practice and
expectations in Exod. 33.18ff. and the emphasis on Yahweh as the
merciful in the extraordinary experience of 34.5ff. Also the peculiar
ending of 40.35, with Moses unable to enter the new tent of encounter,
in a scene which contrasts with that of 33.9-10, can be connected to
5. Psalm 5: The Struggle to Dwell in the Temple
237
a new application of the concepts.
This new application must also be connected to the emphasis on the
people as 'evil' in chs. 32-34. The significance of the golden calf episode
as an illustration of the character of the people is retained for the following scenes of intercession. The lasting 'stiff-neckedness' of the people
is explicitly linked to the new forms of divine representation. Related to
the categories of the I-psalms, the people of Exodus 25-40 are the
embodiments both of the negative and the positive roles of the motif
structure. Seen together, these factors could suggest that this interpretation reflects a democratization of the saddiq paradigm.
In this case, chs. 25-40 could be seen as an expression of an interest
which corresponds to the prophetic actualizations of the paradigm in Isa.
1.1 Off. and Jeremiah 7. In both cases, 'the people' are related to the
religious paradigm, the people cast in the role of the evil in the temple.
The significance of the categories of dwelling in the temple is also
reduced in these texts. But the material frames for the two types of
applications differ: the evil in the prophetic texts is related to acts and
attitudes of good behaviour connected to social categories; in Exodus
25-40 the evil is set in an environment of reinterpreted ritual reality.
Moreover, Moses as a figure of transition who mediates the new relationship even to the point of erecting the new sanctuary all by himself, is
central to the development in Exodus 25-40. Together with other
expressions of the theme of the evil in the temple, these texts could witness to some considerable activity of theological reflection and reinterpretation at a certain period.
A process of transference and reinterpretation could also be expressed
by the description of Moses in these chapters. The transition from Moses
in intercession to his plea for seemingly egotistical aims in Exod. 33.18ff.
represents a traditional exegetical crux. Isolated from the context and
related to the I-psalms, the plea represents a normal expression of the
goal of the I. But in the present context of Exodus 33, the plea's connection to the preceding intercession corresponds to its fulfilment in
Exod. 34.8-9. At the summit of personal experience, the fleeting moment
of the divine passing is exploited by Moses for a renewed intercession.
In the new application, where Moses versus the people reflects the
traditional contrast of positive and negative figures, the zenith of religious
development is connected to the intercession on behalf of the losers.155
155. A similar transformation of the traditional 'elitist' figure related to the 'evil'
could also be reflected in the epilogue of Job 42.9ff. The change of Job's fortunes is
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f. Conclusions
An effort to pinpoint some basic findings within this fluid mass of rich
and subtly allusive materials feels rather distasteful, and must, given the
range of material and methodological questions involved, turn out as
woefully inadequate. But at the very least, these expressions of 'the evil
in the temple' open a considerable number of texts, representing different
literary genres, as possible applications of the motif structure. Also, the
subtlety of theological thought and the depth of feeling represented by
these texts add to the impression of the I-psalms as expressions of a
remarkable type of individual religiosity.
The significance of local categories for religious description is emphasized by these applications, especially in the Pentateuch stories. Events
which describe religious experiences and religious reality are projected
into some sacred space of sanctuary, holy mountain, Eden, places outside and inside the camp and so on, with contrast localities referring to
other levels of reality. Moreover, within the given context it is possible
to operate with a number of related localities which would seem to refer
to very different types of locality (e.g. Numbers 16, Exodus 24--40). In
the categories of sacred space, the religious description is expressed as
spatial relationships connected to the divine and human actors. This is
remarkable, as the motifs must refer to an inner reality of psychic and
mental-emotional character related to the biographical reality of normal
existence, and must reflect the significance and applicability of the basic
motifs of the structure.
In spite of the connection between the different text types, the relationship of the I-psalms to the narrative and prophetic texts seems to suggest
some fundamental difference between more original, or basic, and applied
actualizations. The different types of related texts stress the significance
of the I-psalms as the central expression of the given concepts and motif
sets. Compared to the comprehensive character of the psalms, the other
texts seem to express aspects of the motif structure as expositions of
some main concepts, often highly elaborate both with regard to literary
complexity and theological subtlety.
This also means that it is difficult to confine the motif structure to any
established socio-religious setting as the original milieu. The motif structure can be applied to a situation of priestly (Numbers 16-17, Exodus
not connected to the beatific vision of v. 5, but to his intercession on behalf of his
friends. Cf. also Coats, Moses, pp. 207-208 on the suffering servant of Isa. 40-55 as
a 'new Moses'.
5. Psalm 5: The Struggle to Dwell in the Temple
239
25-31, 35^-0) or prophetic (Numbers 12) categories, or to a situation of
prophetic admonishment connected with ordinary worship (Isa. 1.1 Off.,
Jer. 7). These texts also demonstrate that temple categories, which must
be basic for this language, have a background in ritual reality. On the
other hand, the application of the temple motifs in these texts transcends
any confinements of literal use. Thus, the temple of, for example,
Numbers 16 is contrasted to the negative tents of the evil, which are
connected with the locality of Sheol. Compounded by the other applications of these texts, the possibilities of literary freedom and subtly
allusive effects seem infinite.
Thus, these texts stress the basic ideological character of the motif
structure as a vehicle of religious description. The literary figures are
described not according to ordinary biographical data, but as embodiments of the paradigmatic roles of the motif structure. This also implies
that the literary figures are presented as paradigmatic figures for the
users of the texts.
While the function of the I-psalms is uncertain, some of the parallel
texts could illustrate types of usage and application. Related to the
different religious modes of the main figures described in Isa. 1.1 Off. and
Jeremiah 7, or in Numbers 16 and Exodus 32-34, Psalm 5 for example,
could have the equally relevant functions of threatening admonishment,
of promising exhortation, and of prayer and renewed commitment for
those able to identify with the I-figure. In such a case, the I and the other
actors of the text would represent literary figures, representing the possible modes of religious being to be actualized by the users. For the Ipsalms as transmitted and used by posterity, this type of application
could represent the characteristic usage.
The motif structure connected to such layers of religiosity presupposes
psychic processes of internalization and identification. We have found
such processes characteristic for the texts, which represent the theme
'the evil in the temple'. Related to these texts with the negative and
positive paradigm applied to the same group of actors, the conflict of
the I-psalms between the I and the enemies is internalized, referring
primarily to inner commitment and choice between different modes of
religious being for the individual actor.
Such processes correspond to characteristics we have found of some
of the I-psalms. Thus, there are good reasons to see the I-psalms as
expressions of—or at the very least closely related to—the same types
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of religiosity which are expressed in, for example, Isa. 1.1 Off. or Exodus
25-40.
It is also possible that the differences between the applications of the Ipsalms and some of the other texts could mirror more fundamental
shifts of reinterpretation and reapplication of the motif structure. The
relationship of, for example, Psalm 5 to the prophetic and narrative texts
could demonstrate such a difference. The I-psalms seem to reflect some
type of elitist religiosity centred round some special experience of intimate relationship to God, the I-figure being an expression of the positive
paradigm. Applied to the people in, for example, Isa. 1.1 Off., Jeremiah 7
and Exodus 25-40, the negative paradigm and the people as embodiment of the negative role form the central idea of the literary development. Thus, with the people for the religious actor, the application of the
motif structure could reflect a process of extended application.
Such a process could also be related to the reduction of the significance of dwelling in the temple as connected to the mystical experience
of God in these texts. Moreover, it could be significant that the religious
qualification is different. In Isa. 1.1 Off. and Jeremiah 7156 lists of virtues
describe the new ideal figure as qualified by acts and attitudes connected
to social categories. In Exodus 25-40, at least on the superficial level,
the new ideal is set in an environment of ritual reality, connected to
priestly categories of mediation, with relationship to God depicted as
relationship to a temple of sanctified priests passing from the outside to
the inside.
This type of application couples the idea of ordinary people as expression for the religious paradigm with concepts of extraordinary relationship to Yahweh. Aside from the application of the motif structure on the
priestly office (Numbers 16-17; Exodus 25-31, 35-40) and the function
of the prophet in Isaiah 1, Jeremiah 7 and Ezekiel 18, it is above all the
Moses figure in, for example, Numbers 16, 12 and Exodus 32-34 which
demonstrates the significance of the extraordinary 'man of God' as
necessary to the new application.
Thus, indirectly, the relationship between Moses and the people as
parallel expressions of the religious paradigm in Exodus 25^-G157 is also
an illustration of the difference between an original and a democratized
156. Cf. also the characteristics of the saddiq Ezek. 18 with 3.18ff., 33.8ff. and
further Ps. 15, 24 and Isa. 33.14-16.
157. Cf. also above to the prophet and the people as parallel 'measurers' in
Ezek. 40-47.
5. Psalm 5: The Struggle to Dwell in the Temple
241
application of the motif structure. In this story, Moses (and cf. Elijah as
the parallel figure in 1 Kgs 19) is a perfected representative for the ideal
figure of the I-psalms.
The texts do not give any clear indications of the background for
what might represent a new type of application and reinterpretation of
the religious paradigm. In Isa. 1.1 Off. and Jeremiah 7, it is connected
with a critical evaluation of ordinary religiosity, connected with new
criteria of religious qualification. Exod. 33.18ff. and 1 Kgs 19.1 Iff.,
especially, could imply critical evaluations of the elitist religiosity. The
elaboration of the conflict situation in the Moses stories—especially as
prepared by the Genesis biographies connected to the theme of the contending brothers158—with the victor related to the evil as intercessor,
could also reflect such an interest. The application of the Eden traditions
in Genesis 2-4 could also be related to this interest as an expression of a
general theological preoccupation with the religious significance of
evilness.
In this way, the prophetic and narrative texts can represent a form of
rupture with the past: the new applications are a reinterpretation determined by new interests. On the other hand, it is equally possible to stress
the connection with the I-psalms: the new applications are an immediate
extension of the traditional religiosity. Both the wealth of connotations
and the possibilities for new literary expressions for the basic concepts
illustrated by these texts warn against overly simple reconstructions of
ideological development.
The I-psalms are fundamentally determined by the category of evil as
relevant to the I-figure presented as the perfect confessor. In addition,
the I-story can presuppose both a past history of lesser religious attainments (cf. above to Psalms 42-43) and a present of unperfected confession (e.g. Psalms 42-43, 36). With the I-psalms as expressions of
religious development, the situation of the saddiqim is the ultimate goal
and the I represents an unfinished story. This could also be related to the
way motifs of the I-psalms. In Psalms 26 and also 84 especially, the
application of the motif structure presents the I as a being of the way.
Against this background, a situation in which the people as embodiments
of the evil role is related to the religious paradigm might even represent
the earlier phase of the story of the I. The relationship of Moses and the
people as described in Numbers 16 and Exodus 32-34 could also be
158. Hauge, 'The Struggles of the Blessed', pp. 14-30.
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relevant for the I-story. In Psalms 27 and 62 (cf. Chapter 6) the literary
situation includes both an I as a paradigmatic figure and an admonished
You related to the I. In this way, the relationship between elitist and
democratized applications would merely reflect the different situations of
religious address.
However this question is decided, it remains a remarkable fact that in
the literary expressions for the evil in the temple, the representatives of
the positive and the negative paradigm are described as human beings in
a parallel striving towards or with a parallel dwelling in the temple.
Compared to the literary possibilities for derogatory description of bad
foreign kings, it is strange that the heroes of Isa. 14.4ff. and Ezek.
28.12ff. should be depicted in a movement of 'aid or, as originally, 'on
the mountain of Eden', given that the same motif types describe the
strivings and the attainment of the positive figure. The significance of
this parallelism is illustrated by Genesis 2-3, given to a theme of acquisition of divine wisdom or life and ch. 4 to a theme of acquisition of divine
acceptance. The golden calf, produced as a substitute for Moses and
representing the saviour from Egypt, must be an independent expression
of the same theological understanding of evilness as somehow parallel to
righteousness. In these texts, the negative ideal seems to be understood
as a mock version or shadow-form of the positive. Only more or less
subtle indications of usurpation or unproper attainment and application
suggest the evilness of the hero.
Such a strange parallelism—added to by the elaboration of the evil hero
as a tragic figure in, for example, Genesis 2-4 and the Genesis stories of
the contending brothers—is remarkable. Its material implications suggest
a foundation in some superior tradition of spiritual experience, referring
to inner mental categories of striving and some subtle experience of
religious striving gone wrong.
Such a definition of the negative figure could be connected to some
crisis related both to an elitist (e.g. Exod. 33.18ff.; 1 Kgs 19) and an
ordinary (e.g. Jer. 7) religiosity. In both cases, it reflects the profound
religious character of the concepts involved. A religiosity of inner development and integration of the paradigm connected to personal biography can explain both the significance of the category of the evil and its
definition as the shadow effort of the religious striving. Either in continuation of the religiosity of the I-psalms, or as expression of new types of
reinterpretation and reapplication, these traditions of spirituality must
have represented actual ways of reading the I-psalms.
Chapter 6
PSALM 62: THE CONFESSOR AS TEMPLE DWELLER
1. Formal Character
The psalm has proved rather resistant to any easy labels of genre. On
the one hand, vv. 4-5 must refer to some kind of enemy situation with
the enemies in the normal position of attack and persecution. This corresponds to the description of Yahweh as 'my rock', 'my refuge', 'my
salvation' (vv. 2-3, 6-8), and points to the usual situation of the I in crisis.
On the other hand, the forms of admonishment in vv. 9-13, usually
related to forms of wisdom, must be important for the composition as a
whole.
The dilemma can be illustrated by the solution of H. Schmidt. An
original Kern in vv. 4-9 has been extended by vv. 2-3, the elements
vv. 5-6 also used as introduction, and the cold Lehre in vv. lOff.1 When
the significance of the first part in vv. 2-8 is stressed, the references to a
situation of crisis and suffering are expressed by forms of confidence
and trust.2 There is no prayer,3 and vv. 4-5 which correspond to the
enemy description of the normal psalm,4 have the form of a reproaching
or accusing question. Seen as a whole, vv. 2-8 can be compared to the
1. Schmidt, Psalmen, p. 118; cf. also Gunkel, Psalmen, pp. 262-63 on vv. 4-8 as
'Vertrauenslied', added to by a series of 'Mahnungen' comparably to Pss. 130.7,
131.3.
2. Aside from the preceding references cf. Dahood, Psalms II, pp. 90; Taylor,
Psalms, p. 322; and especially Beyerlin, Die Rettung, pp. 28-29 and F. Stolz, Psalmen
im nachkultischen Raum (Theologische Studien 129; Zurich: Theologischer Verlag,
1983), pp. 5Iff.
3. Cf. Gerstenberger, Der bittende Mensch, p. 124.
4. E.g. Kraus, Psalmen, p. 438, on vv. 4-5 as reflecting 'Stil der Klage', while
Delekat, Asylie, p. 188, refutes such a connection. Due to vv. 4-5 as addressed to the
enemies and the sufferer mentioned in the third person, the verses represent a citation
of a formerly given oracle.
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confessions of confidence in Ps. 27.1-6 and Psalm 23.
The motifs of this confession have been related to an institution of
asylum. Some actual cultic situation for such a confession is suggested
by the I as already accepted into the temple refuge by a divine oracle of
admission.5
Related to a royal or representative I with national enemies, the
expressions of crisis, confidence, and admonishment, all connected to a
divine oracle, could reflect rites of protection.6 Or with the royal I
related to disloyalty within the people, vv. 4-5 could equally well represent forms of admonition addressed to the opponents, vv. 9ff. the exhortations to the people.7
The second part of the psalm can also be stressed. Verse 13 addressed
to God8 could represent the climax of the composition. Thus, to Eichhorn,
vv. 12-13 mark the pivotal point. The I, with a cultic function as intercessionary mediator in a situation of national crisis, has received an
oracle. The composition as a whole is given to the presentation of this
oracle.9
These samples could at the very least demonstrate the connotative
wealth of the text, as well as its flexibility for different types of application. If we put a greater emphasis on literary categories and relate the
5. To Kraus, Psalmen, pp. 436-37, the expressions of confidence reflect the
reception of the 'oracle of salvation', vv. 12b-13, which forms the basis both of vv. 28 and 9ff., the latter typical for a 'song of thanksgiving'. Related to the events of the
ritual situation, the oracle represents an introductory 'Schutzerklarung', while the final
divine verdict on the case is yet to come (p. 438). To Delekat, Asylie, pp. 188-89,
vv. 4-5 represent the 'Aufnahmeorakel' related to a concrete situation of the enemies
seeking to deceive the I into leaving the asylum and the city. This is refused by the I,
who in vv. 9ff. demonstrate why the rich city-dwellers want him away. Such views are
strongly opposed by Beyerlin, Die Rettung, pp. 28-29, to whom the text represents
'eine vergeistigt-verinnerliche Rettungshoffnung ohne den Riickhalt einer speziellen
Kultinstitution'; cf. also Stolz, Psalmen, pp. 5Iff.
6. Birkeland, Die Feinde, pp. 257ff.; Mowinckel, Psalms I, pp. 219-20.
7. Eaton, Kingship, p. 49; cf. also Croft, The Identity of the Individual, pp. 12728, on vv. 9-11 as oracle of salvation delivered after vv. 2ff. understood as prayer,
while vv. 12-13 reflects the king's response.
8. M.E. Tate, Psalms 51-100 (Word Biblical Commentary 20; Dallas: Word
Books, 1990), p. 119.
9. Gott als Pels, p. 38. While vv. 9-13 is usually seen as influenced by Wisdom,
vv. 12b-13 is described as an oracle on God as the 'rock' of the people, vv. 9ff.
understood 'in Strukturanalogie zur Gerichtsrede der vorexilischen Propheten'
(P- 37).
6. Psalm 62: The Confessor as Temple Dweller
245
text to the psalms analysed earlier, the confession vv. 2-3 and 6-8 stands
out, both as repeated and as connected with Pss. 42.6, 12,43.5.
a. Verses 2-3, 6-8
Yes!—'towards' God is there 'silence'! my soul.
From him is my salvation.
Yes!—he is my rock and my salvation,
my tower—I shall not totter much.
Yes!—'before' God be 'still'! my soul.
For from him is my hope.
Yes!—he is my rock and my salvation,
my tower—I shall not totter.
'Upon' God is my salvation and my glory,
the rock of my stronghold, my refuge is 'on' God.
The small differences between vv. 2-3 and 6-7 are traditionally emended
into a perfected refrain.10 The commentators' assurance with regard to
this rather evocative compilation of formulaic nominal constructions,
applied with a subtle technique of repetition and variation, is probably a
reflex of earlier ideas on the literary relationship of vv. 2-3 and 6-7 (cf.
above). In its present form, v. 2a represents a statement, while 6a shifts
the elements of this statement into an exhortation followed by a motivating ki—clause. Because of the parallel constructions of 2a and 6a, the
concluding 'my soul' must have a parallel function as the addressee also
in2a.
In this way, vv. 2 and 6 express a situation with the I talking to and
exhorting his soul. This corresponds to the literary frame of Psalm 42
where the psalm as a whole with its address to God is related to a situation of communication with the soul. An elaborate illustration of such a
situation is represented by Ps. 131.2, where the I presents himself as one
who has weaned the soul into a stage characterized by stillness.
Verses 2-8 are dominated by forms of confidence framed by the
address to the soul and correspond to the composition of Psalms 42-43.
The structure of confessing I-forms followed by exhortations in vv. 9ff.
corresponds to Psalm 131 (cf. also 130, and further above to 27 concluded by the exhortation in v. 14).u
10. Kraus, Psalmen, p. 436, ponders whether the differences reflect 'eine Variation
oder eine Variante'.
11. The connection between Pss. 131,42-43, 62, and Lam. 3.2Iff. is emphasized
by Beyerlin, Wider die Hybris, pp. 63ff., with references also to Ps. 77.3.
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The connection between these texts is also demonstrated by a
common dependence on motifs related to the address to the soul. In
62.2a, 6a, the parallel location and the effect of alliteration suggest that
dumiyyd and the imperative of damam reflect aspects of a common
motif of stillness. While the other usages of dumiyyd12 suggest that the
statement in v. 2a refers to silence, damam in pol. form is connected
with siwwd13 for the instruction of the soul in 131.2. Further, forms of
yhl are found in the exhortations Pss. 42.6, 12,43.5 and 131.3. This corresponds to the exhortation in Ps. 130.7, while the parallel I-forms in
v. 5 add qiwwd for the paradigmatic waiting. This usage connects to the
concluding exhortation of Ps. 27.14.14 The cluster of words and motifs
obviously refers to a given background, centred round a concept of the
still and waiting soul/person as an expression of the religious paradigm.
The motivating statements related to the address to the soul in 62.2-3,
6-8 and 42-43 suggest a special background in given forms. The motivations comprise sentences in the first person on the fate of the I as
related to Yahweh: the repeated 'I shall not totter (much)' (62.3b, 7b)
corresponds to 'I shall yet praise' of the refrain in Psalms 42-43. In both
cases the divine 'salvation' is an important motif (62.2b, 3a, 7a, 8a and
in the refrain in Pss. 42-43).15 The Yahweh qualifications with suffixes
in the first person dominate formally the motivations in Psalm 62.16 This
is comparable to the concluding elements of Pss. 42.12b, 43.5b. Aside
from the unusual 'my face' added to 'my God', the significance of these
forms is emphasized by the elements 'your God' in v. 11 and 'my God'
in Ps. 43.4 which both conclude the preceding parts and prepare for
the following address to the soul (cf. the introductory 'my God' in
v. 7 immediately after v. 6). The function of these bridging elements in
12. Pss. 22.3; 39.3; 65.2.
13. Isa. 38.13; cf. the different usages Pss. 16.8,18.34, 21.6, 89.20, 119.30 which
suggest basic connotations of 'localization'.
14. Cf. also these words Lam. 3.21, 24, 25, 26 together with motifs of 'stillness',
vv. 26 and 28, related to Yahweh's 'salvation', v. 26 and to 'hope', v. 29 corresponding to Ps. 62.2, 6. The significance of this series of statements in I-form in
Lam. 3.21ff. is added to by v. 20, where the state of anguish is described by the
Soul's zdkar and siah, corresponding to Ps. 42.5ff.
15. Cf. Lam. 3.26 as a third type of combination of the given motifs.
16. In Lam. 3.24a a similar nominal sentence in the first-person form represent
the confession of the soul. The relationship of the confession to the statement in Lam.
3.24b (cf. also v. 21 related to vv. 22ff.) corresponds to the relationship of exhortation
and motivation in Pss. 62 and 42-43.
6. Psalm 62: The Confessor as Temple Dweller
247
Pss. 42.7, 11, 43.4 can be compared to v. 8 in Psalm 62, which both
connects formally to the preceding first-person statements and introduces the central Yahweh qualifications in the following exhortations.
b. Verses 4-5
How long will you shout17 against a man?
all of you shall be killed!
Like a wall bent down, a fence pushed in,
Yes! from his exaltedness they counsel to thrust him.
They favour falsehood,
by the mouth they bless, by their inner they curse.
These verses framed by the address to the soul correspond to the main
corpus of Psalms 42-43 as an expression for the I in crisis, connected
with the enemy situation.18 But for this expression of the crisis, we note
not only the absence of the prayer forms, but also the consistent use of
third-person forms for the sufferer. The vocalization of the second sentence of v. 4—usually emended into some form of complaint—even
turns v. 4 into a threat.19 Without the corresponding motifs of the context, vv. 4-5 could be seen as a relatively independent rhetorical address
to the evil without any explicit connection to the I-forms, similarly to
Ps. 52.3-7.
Thus, on the one hand, vv. 4-5 refer to the situation of normal crisis, a
negative outcome fatal for the I as fallen and cast out and corresponding
to the negative fate of Ps. 5.11. As usual, the enemies are characterized
as evil, in a third-person description in the second line of v. 5.20
17. Cf. BDB, while the usual translation has been 'rush upon' with the following
verb emended to a corresponding motif of rus, e.g. Kraus, Psalmen, p. 435:
'bestiirmen—anrennen'.
18. To Seybold, Das Gebet, p. 68, these verses refer to sickness.
19. With the second sentence of v. 4 vocalized according to MT, the comparisons
of the second line of v. 4 could have a double function as equally related to the
destruction of the enemies of v. 4 and the I of v. 5. This corresponds to the imagery
of the comparisons. The implicit motif of falling is equally relevant for the killing of
the enemies and the I removed from 'exaltedness'. Such a connection is also suggested by the motif of ndh in hiph. form v. 5 which corresponds to the enemies
Ps. 5.1 la as 'fallen' and 'cast out'. Connected to motifs of dwelling in the temple,
the enemies obviously also here depicted as present in the sanctuary (cf. below), the
motifs of defeat are equally relevant for the contenders.
20. Formally, the intermediate comparisons in the second line of v. 4 facilitate the
transition from the enemies addressed in v. 4 and referred to in v. 5.
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The contrast between the outer, connected to talking, and inner reality
corresponds to, for example, Pss. 5.10 and 55.22. On the other hand, the
elaboration of the normal situation marks a peculiarly de-tensed reference to the crisis.
When we see vv. 4-5 as an expression of the enemy crisis, introduced
and followed by the address to the soul in vv. 6ff., the composition corresponds to the compositional pattern of Psalms 42-43. When we stress
the special form of vv. 4-5 related to vv. 6ff. with confessions in I-form,
the composition can be compared to a similar address to the evil in
Ps. 52.3ff. Here, an introductory rhetorical question in v. 3a is contrasted
with a declaratory statement of the divine 'grace' in v. 3b, followed by
a description of the evilness of the You in vv. 4-6, concluded by
stating imperfect forms on the destruction of the evil in v. 7.21
Moreover, the motifs in the contrasting self-description in vv. 10-11, the
I described with motifs of dwelling in the temple, as 'eternally' 'trusting'
in the divine 'grace', and as 'waiting', can be related to the I-forms and
admonishments of Psalm 62.22
In Psalm 52, the evil and the I are not related to each other as contenders, but function as contrasted expressions of the religious paradigm.
A similar function can also explain the special form of the enemy situation in Psalm 62.
c. Verses 9-13
Trust in him always! you people
Pour out your hearts before him!
God is our refuge.
Yes! emptiness are the sons of man, falsehood the sons of men.
In a pair of scales they rise. These are emptiness, all together.
Do not trust in oppression! Do not become empty through robbery!
Might—if it bears fruit—do not take it to heart!
Once did God speak, twice this I heard:
Strength belongs to God!
To you, my Lord! belongs grace.
For you recompense a man according to his doing.
The relationship of vv. 2-8 as a series of self-descriptive confessions
in I-form and vv. 9ff. as a series of exhortations addressed to You
21. Cf. also the common motifs for the description of the evil v. 9 and in the
admonishments Ps. 62.9a, 11.
22. Cf. also the confession v. lOb with God in the third person followed by God
addressed in the concluding v. 11 corresponding to Ps. 62.12 and 13.
6. Psalm 62: The Confessor as Temple Dweller
249
corresponds to the structure of Psalms 130-31. When we pay attention
to the soul motifs of Psalms 62 and 131, emphasized by the refrain of
Psalms 42-43, the connection is striking. Either in the form of a description addressed to Yahweh in Psalm 131 or as exhortations addressed to
the soul in Psalms 42-43 and 62, the texts reflect a given situation of
the spiritually more advanced I split from his soul and related to it in the
role of admonishing teacher. The ideal of the soul's stillness represents
the aim of the teacher in both Psalms 62 and 131.
The significance of these parallel texts is emphasized by the literary
development in Psalm 62. The concluding localization and elaborate
character of vv. 9ff. could suggest that these verses represent the central
interest of the composition. Formally, the exhortations in vv. 9ff. are
integrated into the text. This is seen by the final vv. 12-13 which revert
to the first-person forms.23 In this way, the exhortations are embedded
in confessing forms. Within such a formal frame, the confessing I of
vv. 2-6 and 12-13 represents the exhorter addressing the people in
vv. 9ff.
Such a connection is also suggested by v. 8. This verse makes an
extension to the refrain of vv. 2-3 and 6-7. Its formal character, with a
series of short nominal constructions which describe God related to
'me', corresponds to the motivating statements of the refrain.24 The
slightly different rendering of the motifs 'rock' and 'my salvation' in
v. 8 refers to the central vv. 3a, 7a.25 On the other hand, the words
'strength' and 'refuge' in v. 8b are also used for the statements on God
in vv. 9b and 12b. The central significance of these statements for the
admonishments is seen by the elaborate introduction in v. 12a, while
v. 9b motivates the positive admonishment in v. 9. Given this background,
the application of these terms in v. 8b can hardly be coincidental, but
must prepare for the application in the admonishments.26
23. To the significance of concluding I-forms cf. Ps. 92.16 and 52.10-11 related
to the preceding third-person forms and 118.28 related to the preceding we-forms.
24. Concretely, the terms with suffixes in the first person related to 'God' with
prepositions correspond to vv. 2b, 6b, and could reflect the significance of the soul's
'stillness' 'eel and le God, vv. 2a, 6a.
25. With 'my hope' in v. 6b , differing from the parallel v. 2b, a too repetitive
style is avoided.
26. Cf. the similar compositional technique, vv. 12b and 13 first line with the
transition from third-person statements on God to second-person hymnic address
expressed by two parallel nominal constructions in inverted order, bridged by the
preposition le.
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Between Sheol and Temple
In this way, v. 8 as an extension to the refrain of vv. 6-7 seems to have
a function of transition, linking the I-forms vv. 2-7 to the admonishments
in vv. 9ff. With a parallel linkage expressed by the concluding I-forms in
vv. 12-13, the composition suggests an important connection between
the 'objective' forms of admonishment and the 'subjective' forms on
the I as confessor.
Such a compositional interest is also reflected in the present form of
the refrain in vv. 2-3 and 6-7. With v. 2a as a statement and v. 6a as an
exhortation, the development of the refrain prepares for the exhortations
in vv. 9ff. The situation of the I as confessor, addressing and admonishing
his soul, is gradually extended into a wider scene of admonishment, with
the I admonishing the people.
This connection is also suggested by the form of vv. 9-10. The first
sentence of the address in vv. 2a, 6a, and 9a has a similar structure, with
the addressee 'you people' in the final position corresponding to 'you
my soul'. In all the three cases, the address is followed by a motivating
statement on God in vv. 2b, 6b, 9b. In vv. 3 and 6, this is followed by a
further motivation introduced by 'ak. This corresponds to the similarly
introduced v. 10 with a contrasting negative motivation, which prepares
the negative admonishment in v. 11.
A connection between positive and negative motivations is also
reflected in the motif usage. The context of the admonishments in
vv. 9ff. suggests a contrast relationship between humanity as 'breath' in
v. 10 (repeated, cf. also hbl in lla) and human 'might' (lib) and God
as 'refuge' in v. 9b and with 'strength' in v. 12b. At the same time, the
sentence construction of vv. 3a, 7a and the first sentence of lOa express
a contrast between the central qualification of God as 'rock' and
humanity as weightless 'breath' (cf. the connection between the three
qualifications of God in v. 8b).
In this way, vv. 9-10 can be seen as an application of the refrain, the
confession of the I applied as admonishment to the people. The structure
of the psalm as a whole can be described as a repeated structure of
address (vv. 2a, 6a, 9a, 11) and motivation (vv. 2b-3, 6b-8, 9b-10, 12b
with the conclusion v. 13).27 Verses 4-5 formally represent an address to
and description of the enemies, thus including the enemies as present in
27. With the structure added to by the submotivation, v. 13b, related to the
statement of v. 13a. For the composition as a whole, this puts a special emphasis on
the divine h&sced here defined as retribution. This can be compared to the application
of the term Ps. 52.3 related to the evil, 36.7-8 related to those seeking refuge.
6. Psalm 62: The Confessor as Temple Dweller
251
the complex literary situation. But as to function, the verses form part of
vv. 2b-3, preparing the renewed address to the soul in 6a.
Within the series of motivations, the introduction v. 12a stresses the
significance of the concluding vv. 12b-13.28 These verses—with 12b as
the oracle proper, due to v. 13 as addressed to God—correspond to the
dogmatic statements of religious truth found to be basic for the other
texts (cf. especially Pss. 5, 36, 84, and 140). The introduction in v. 12a
can be compared to the introduction 'I know' of Ps. 140.13.29 Verse 13
formally changes the statement into a confession addressed to God. But
both the /^-construction of v. 13a and the sentence type of v. 13b30 give
the two statements in vv. 12-13 as closely related. The statement of
v. 12b is presented as the contents of a divine revelation, while v. 13 turns
the revealed truth into a confessing response. The relationship between a
general truth and confessing forms corresponds to the relationship
between the third-person statements and first-person forms of the other
texts.
Within the texts analysed above, such statements are usually juxtaposed to negative statements on the fate of the evil. In Psalm 62 a comparable negative saying is found in v. 10 on humanity as weightless
'breath'. The contrast between God and humanity in this psalm corresponds to the positive and negative application of bdtah in the admonishments vv. 9a and 11.
The admonishing interest is also reflected in the special expression of
the I in crisis in vv. 4-5. On the one hand, v. 5 especially represents a
traditional reference to the enemy situation. On the other hand, v. 4
greatly reduces the tension of the crisis. Verse 3b with the motif of
'tottering' corresponds to the motifs of v. 5, linking the description of
the crisis to the confession. In this way, vv. 4-5 prepare for the following
admonishment in v. 6a. Within this composition, the reference to the
enemy situation functions as an expression of confidence. This corresponds to the use of the enemy motifs in Ps. 27.1-6. In Psalm 27 the
28. Usually characterized as an oracle of promise or salvation. To its significance
in the composition cf. especially Eichhorn, Gott als Pels, p. 38, to its formal character
Beyerlin, Die Rettung, p. 28, who finds that its reflected character and the stylistic
influence of wisdom suggests a certain 'zeitliche Abstand' from the supposed
original'Verkiindigungsgeschehen'.
29. Cf. also the following statement, v. 14, introduced by 'ak, which can
correspond to the application of this element in Ps. 62.
30. Cf. above to Pss. 5.12, 140.13, and also 36.11.
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Between Sheol and Temple
confessions with the I as the paradigmatic confessor are related to a situation of crisis (vv. 7-13) and a concluding exhortation addressed to a
You in v. 14. This formal structure is comparable to Psalm 62, with
vv. 4-5 followed by the exhortations to 'my soul' in vv. 6ff. and to the
'people' addressed as You in vv. 9ff.
In the texts analysed earlier, we have found descriptions of the enemies
attacking the I related to general statements on the fate of the evil.
Within this pattern, the enemies of the I are depicted as embodiments of
the paradigmatic evil. In this psalm, v. 10 represents a similar general
statement. But here this statement has a subordinate function, related to
the exhortations of vv. 10 and 11. In addition, general negative qualifications are used in the exhortation of v. 11, with 'oppression' and 'robbery'
corresponding to the description of the enemies in vv. 4-5. The use of
hbl links the general statement in v. 10 and the exhortation in v. 11. By
'trusting' 'oppression' instead of 'God',31 the people will 'become
empty' like weightless humankind. Within this motif development, the
evil are depicted as negative figures of imitation.
Against this background, the composition of the psalm as a whole is
dominated by the exhortative interest of vv. 9ff. Moreover, the compositional development seems to express an interest in linking the two situations of the I addressing his soul and addressing the people. The
admonishment of the people is an immediate extension of the I
addressing his soul. In both cases, the I stands forth as the confessor.
This represents an interesting connection with Psalms 42-43 and 131.
Common to Psalms 62 and 42-43 is a basic situation of the I talking to
and admonishing his soul. While Psalms 42-43 confines the dialogue to
man and soul in distress, Psalm 62 extends the dialogue to include the
people as a second object of admonishment. This links to Psalm 131. But
in the latter psalm, there is no formal link between the two situations of
admonishment. Here, the I with a perfectly weaned soul is presented as
an exemplary figure to be imitated by the addressed Israel.
The concept of the confessing I as an exemplary figure must also
be expressed by the composition of Psalm 62, with a connection
between I-forms and admonishments and between the two situations of
admonishment. In this way, the I and his enemies are presented as
embodiments of the negative and positive paradigms. This corresponds
to the texts analysed above. In Psalm 62, however, the function of the I
31. Cf. also human 'might', v. lla contrasted by the following statement on
God's 'strength', v. 12b (in addition to v. 8b).
6. Psalm 62: The Confessor as Temple Dweller
253
as paradigmatic figure presented as an ideal for imitation is much more
striking. We have discussed this function for the I-figure above and
especially in connection with Psalm 27. The relationship of Psalms 131,
62 and 42^4-3 to 'normal' prayer psalms more directly centred round
the I in distress, could reflect important aspects of the function of the Ipsalms. Given this background, Psalms 62 and 131 together with, for
example, 27, 31, and 55 could be seen as reflections of a function of
application and exhortation connected with a process of identification
with the I-figure.
This could also explain the special form of Psalm 52. The structure of
threatening address to the evil in vv. 3-7 followed by a parallel description by the righteous in vv. 8-9 and contrasting confessions in I-form in
vv. 10-11 in Psalm 52 represent a rather special composition without
any immediate relationship between the three sub-units. But related to
Psalm 62, 52 could reflect an interest of admonishment connected to the
evil and the I as contrasted paradigmatic figures. The composition represents a rhetorical compilation of certain stereotypes32 which are meaningful as allusions to the given literary situation of the I-story. In this
way, the special expressions of the I-story given in Psalms 52, 62 and
131 compared to, for example, Psalms 42/43, 27, 31, and 55 could
reflect different degrees of the traditional literary shape influenced by
the interest of application and function.
2. The Application of the Motif Structure in Psalm 62:
Dwelling in the Temple as a State of Religious Being
Translated into a literary/fictional situation, the formal development of
Psalm 62 reflects a complex drama of added sets of situations. The I is
depicted in a situation of distress, under attack and addressing his
enemies. But this situation of normal crisis is extended into a situation of
the I addressing his soul with confession and exhortation. The address to
the soul is further extended, the exhortation related to a new set of
actors, with the people addressed.
The motif usage which describes the situation of the I is rather simple.
Comparably to Ps. 27.1-6, it is centred round two basic motifs: the I is in
crisis, related to the attack of the enemies (vv. 4-5); the I is related to a
locality, described by motifs which refer to temple categories.
32. Cf. Ps. 52.3-7 compared to e.g. Ps. 62.4-5; the parallel qualification of the evil
in Ps. 52.9 to 62.10; Ps. 52.10-11 to the I-forms of 62.
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Between Sheol and Temple
In Psalm 62, however, the motif usage does not separate between
motifs on the temple and on the divine presence within the temple.
Verses 3, 7, 9b imply God as a locality 'upon' which or 'in' which one
stands oneself. Verse 8 refers to similar categories slightly mitigated, with
'my salvation' and 'my pride' located 'al God (v. 8a), 'the rock of my
stronghold' and 'my refuge' be God (v. 8b). On the other side, 'my salvation' 'from' God (vv. 2b, 6b) and the 'hearts poured out' 'before'
him implies a directional relationship (cf. also the orientation of the soul
in vv. 2a, 6a).
Parts of the imagery might reflect ancient concepts of some local
divinity as originally identified with, for example, a certain sacred rock
of the sanctuary, preserved through ritual practices. For such rites, the
concepts connected with an act of standing oneself upon the rock could
have been important.33 But in the present usage, different types of
motifs are added to each other. Related to the other texts, this usage
seems to represent elliptical versions of more traditional types which
separate between God and temple. Thus, for example, Pss. 43.3b-4, 5.8,
26.6-8, 27.4-6, 84.5, 8 convey more 'correct' impressions of relationship
to God in the temple. On the other hand, Pss. 140.14, 5.5, 12, 42.2-3
and also 36.8-10 (with only v. 9b as direct reference to 'your house')
represent stereotypical and elliptical allusions to dwelling in the temple.
Parallel to the motif usage of Psalm 62, the latter examples stress the
relationship to Yahweh as the essential characteristic of the temple
motifs.
Whatever the background of the imagery, it stresses the importance of
the religious being visualized by motifs of locality. Either in a posture of
absolute stillness or as localized to a rock or some space of protection,
the I as confessor is described by local categories.
The enemy situation of vv. 4-5 must refer to these categories. With
the use of daha in v. 4b, the comparison 'Like a wall bent down, a
fence pushed in' links to the situation of v. 5 with the enemies planning
to ndh in hiph. form 'from his se'et'. The normal usage of s'e'et—aside
from the technical use in Leviticus—refer to categories of position and
dignity.34 As linked to the comparison of v. 4, the expression could
33. E.g. Eichhorn, Gott als Pels, pp. 83ff., connected with the rock as 'Wohnund Offenbarungsstatte Jahwes' reserved for the chosen intermediary; Delekat,
Asylie, pp. 207ff., on 'standing on the rock' as the central act of the asylum seeker in
search of divine protection.
34. Often emended in this text, but central to, for example, Croft, Identity of the
6. Psalm 62: The Confessor as Temple Dweller
255
allude to some imagery of the man as elevated. This is supported by the
context. The preceding formula 'I shall not totter' in v. 3b corresponds
to the enemies trying to 'thrust' somebody from an elevated position.
The formula of v. 3b is related to the preceding imagery of v. 3a with
the I related to God as rock and tower. These motifs imply connotations
of height, the I located to some elevated place. The motif usage of
Ps. 27.5b related to vv. 5-6 and Ps. 61.3b related to vv. 3-5 stresses the
traditional character of this imagery. The standing place of the I on the
rock is a place of rum (Ps. 61.3), Yahweh romem the I upon it
(Ps. 27.5b; nhh in hiph. form 61.3), his head rum above the enemies
around (Ps. 27.6).
These texts must be individual expressions of the same concepts. Details
differ. Thus, in Pss. 27.5b and 61.3b Yahweh is not identified with the
sacred rock. With the parallel terms of Pss. 27.5a and 61.5, 'rock' obviously is a comprehensive term for the temple as a whole, stressing certain aspects of its character as the elevated localization. But the insistence
on Yahweh as subject for the movement of the I, 'elevating' onto the
'elevated place', is comparable to the categories of Ps. 62.3. With
Yahweh either as 'my rock' or 'elevating' onto the rock, the imagery
must allude to a common background in the miraculous aspects of the
temple categories, usually expressed by motifs of divine intervention,
guidance/admission, or of relationship to the presence.
This is related to the imagery of the immediately following vv. 4-5 in
Psalm 62. In the present context, the 'thrusting' from 'exaltedness'
connected to a comparison of 'walls bent down and thrust', continue the
situation of the I related to God as 'my rock' and 'my tower', not given
to 'totter'. Compared to Yahweh nhh in hiph. form (Ps. 61.3) or romem
(Ps. 27.5) the I unto the rock, ndh in hiph. form in Ps. 62.5, with the
enemies for subject, must refer to the opposite movement.35
In this way, ndh in hiph. form related to the exalted position of
dwelling in the temple, and with the enemies for subject, corresponds to
its usage in the enemy prayer Ps. 5.11, with Yahweh for subject. To be
removed from the temple signifies the negative fate. In Psalm 5, the
negative fate is connected with the motif of falling (v. 11; cf. also the
death motifs in v. 10), in Psalm 62 with the corresponding imagery of
tottering in addition to the implied connotations of being brought down
Individual, p. 128, and Eaton, Kingship, p. 49 as referring to the royal eminence.
35. Cf. the expressions for the negative movement Ps. 26.9 with Yahweh for subject, and 36.12-13 with the enemies for subject.
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Between Sheol and Temple
from an exalted position. The conceptual connection between these
motifs is seen in Pss. 36.12-13 and 26.9, with a parallel negative movement, contrasted with temple motifs and related to the locality of Sheol
as the place of falling (36.13) or as togetherness with the evil.
The relationship of Pss. 62.4-5, 5.11, 36.12-13, and 26.9 demonstrates
that the many singular motifs which describe the relationship between I
and his enemies, could be abstracted to the idea of a struggle between
life and death. The enemies seek to have the I killed, the I correspondingly prays for their death. The linkage to the categories of dwelling in
the temple in Psalms 5 and 62, with removal from the temple as the
expression of the negative fate, stresses this correspondence. In both
texts, the motif development suggests that the confrontation takes place
in the sanctuary. In Psalm 5, the enemies are even depicted as fellow
aspirants to dwell in the temple, the I praying for their expulsion. In
Psalm 62 only the negative part of the confrontation is expressed, in the
form of the enemies' efforts to push the I away.
But the individual expressions of the concepts vary. In Psalm 62, the
description of the enemy situation in vv. 4-5 linked to the confession to
God as rock and tower and the formula 'I shall not totter' suggest an
imagery comparable to Pss. 118.13a and 36.13: the I standing, the
enemies around and 'pushing' so the stander shall 'fall'.
This rather special imagery also corresponds to the extension rabbd
added to the usual formula 'I shall not totter' in v. 3b. Seen isolated,
the 'very much' seems a rather pedantic little modification of the
exuberant confession, and has suffered accordingly in the hands of the
commentators. But related to vv. 4-5, it corresponds well to a situation
of the stander as 'bent and pushed' under the attack of the enemies.
Also, it corresponds to the exhortation for 'stillness' addressed to the
soul, both with regard to motif consistency36 and as an encouraging
motivation. This scene can be compared to the scenes of triumph in
Pss. 27.5b-6 and 23.5, with dwelling in the temple related to the enemies.
But as a scene of confrontation, it corresponds especially to the motif
elaborations of Psalm 5 and Numbers 16.37
36. Cf. the corresponding imagery of Ps. 11.1 where taking refuge 'on' Yahweh
contrasts the soul as a bird fleeing to the 'mountains'.
37. Cf. also the no-tottering as the rewards of dwelling in the temple, Ps. 15.5b
and the implicit situation of permanent siege connected with dwelling in the temple,
Isa. 33.16.
6. Psalm 62: The Confessor as Temple Dweller
257
Compared to the other texts, Psalm 62 represents a radical contraction of the motif structure. The applications of the motif structure in
other texts reflect a series of events, with dwelling in the temple related
to miraculous categories of divine guidance and admission as the
triumphant conclusion of the story of the I. Also in Psalm 62, the motif
usage reflects that dwelling in the temple represents the summum bonum
of the pattern. In addition, dwelling in the temple visualized as 'standing
on the rock' is the pivotal point: the enemy crisis, the I as confessor
extended into the exhortation of the soul, and the implicit divine intervention are connected to this situation. All is concentrated in the situation of the I in some delicate act of balancing upon the sacred rock, the
enemies trying to unbalance the stander.38 The main events of the motif
structure take place in the temple, contracted into one scene of dwelling
in the temple. Here, the important difference between outside and inside
the temple has been dissolved. The outside events have been transposed
into the temple, while the meaning of the inside events has been
changed. With dwelling in the temple seen as an act of balancing upon
the sacred rock, the formal significance of the temple motifs has been
dissolved. Volitional aspects seem to dominate the motif application in
Psalm 62. The motifs of dwelling in the temple and of the relationship to
the divine presence represent a marked weakening of the miraculous
categories. With the I as balancing stander, related to God as rock, and
the soul exhorted to stillness, dwelling in the temple represents an act
of trust and confession and single-minded concentration. It must be
important that this volitional and exhortative function is closely connected with the miraculous categories. The act of confession and exhortation depends on the divine presence, the not-tottering connected to
God as the 'rock' and 'tower'. For this application, dwelling in the
temple seems to serve as comprehensive category for the motif structure
as a whole and thus as a concentrated expression of religious being.
The motif contraction of Psalm 62 can be seen as a radical expression
of similar operations in some other texts. Thus, both Pss. 26.6-7 and 5.8
use the motif entrance into the temple with a volitional function as
qualification of the I as not-evil (cf. above to Ps. 84.6, 11). Together with
Exodus 32 and also Isa. 1.1 Off. and Jeremiah 7, these texts39 witness to a
38. Cf. the similar application of way motifs in Ps. 26, with the miraculous categories of Ps. 43.3-4 expressed in volitional categories of non-tottering walking
Ps. 26.1, 3, here related to a situation of ultimate standing, v. 12.
39. Cf. also the application of firmly standing in Ps. 112.6-8.
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Between Sheol and Temple
type of application where motifs of dwelling in the temple are used as a
comprehensive category for a general description of religious being. In
this way, Psalm 62 could provide a key to the other, more complicated
applications of the motif structure.
3. The Motif Structure as a Language of Religious Experience
The character of the motif development in Psalm 62 can be added to
what was found characteristic in Psalm 5. In the traditional formhistorical operation of transposition, the literary situation of the I in
Psalm 62 is directly transferred into some institutional situation of cultic
character connected with a hypothetical biographical situation. This
interpretation is absurd for this text.40 On the other hand, it is natural to
surmise that both the motifs as well as their basic relationship are
derived from normal temple practice and ideology. The connection
between the basic concepts of the psalm language and some normal
cultic practice makes it possible to suppose constant interaction between
psalm language and cult. For any prayer situation connected with ordinary life crises, as represented by, for example, the worshippers of Isa.
1.1 Off. and Jeremiah 7, Psalm 62 as well as Psalm 5 would have been
equally applicable. But the psalm language reflects an independent
development of the connotations of temple practice in a language of
conceptual character.
In the same way, it would be absurd to translate the psalm into some
typical contemporary social reality, or to isolate single motifs as more
biographical than others. Here as in the other psalms, the I-forms reflect
some kind of autobiography. But the autobiography—especially when
compared to the other I-stories cast in the same mould—is described by
a set of motifs which transcends normal reality. For our perception of
this difference, the motif development of Psalm 62 is especially helpful
with an imagery so clearly separate from normality. With the connection
between Psalm 62 and the other I-psalms analysed above,41 this must
40. Cf. the commentators' reticence (with Delekat, Asylie, pp. 188-89, for
exception) with regard to biographical conclusions drawn from Ps. 62.
41. Usually ignored by the separation of texts supposed to reflect different types
of relationship to the surmised underlying rite, for example, Beyerlin, Rettung, pp. 910, with psalms 'mit Rettungsaussagen ohne Institutionsbezug' and 'mil institutionsbezogenen Rettungsaussagen' (cf. pp. 18ff. on the methodological problems involved);
Seybold, Das Gebet, p. 8, on psalms with 'sicherem', 'sehr wahrscheinlichem' and
6. Psalm 62: The Confessor as Temple Dweller
259
have consequences for our understanding of the other applications.
Compared to normal biographical reality, the I-psalms must refer to
some sacred 'super-reality' of religious experience, with the I, the
enemies, God, and temple/contrast localities for basic components. Nor
can this other reality be confined to some physical dwelling in the
temple precinct. In Psalm 62, the temple motifs express a special religious state of constant relationship to God, the threat of the enemies
related to the state of relationship described as a kind of inner equilibrium. While normal biographical experience clearly is included, the language itself provides the categories for the religious description of this
experience.
This could suggest that the I-figure really represents a fictional figure
of literary character, created as a theological-religious construction. Earlier
we have repeatedly been confronted by this possibility. As a fictional
character, the I-figure could reflect both a background of mythic categories42 and/or a presence of theological concern.43
The stereotypical character of the I-psalms, especially when seen as
parallel applications of a common motif structure, stresses this possibility.
Also, the I-figure presented as a religious paradigm, related to the evil as
expression of the negative paradigm, could be connected to such a function. Connected to, for example, some didactic interest, the textual T is
presented to the reader/listener as a fictional I in connection with a process of identification, the reader identifying with the religious hero,
rejecting the negative ideal. The narrative applications of the motif structure (cf. above Chapter 5) seem especially characterized by the motif
structure applied as a conceptual frame for some theological concern.
On the other hand, this religious super-reality seems to be closely
connected with the normal level of reality. Thus, while, for example,
'unsicherem Bezug zu Krankheit'; cf. also Stolz, Psalmen, pp. 2Iff. on 'Kultpsalmen
im nachkultischen Raum'.
42. Cf. the I-psalms seen as expressions for a mythic-cultic pattern connected to
the role of the suffering king during the New Year Festival developed in the 'Myth
and Ritual' tradition and the 'Uppsala-school', especially related to the idea of
'democratization', e.g. Widengren, Sakrales Konigtum, p. 41. Connected to such a
pattern of basic cosmic laws experienced as cultic drama, the individual subjective
biography would be subordinated the 'objective' biography.
43. E.g. Brueggemann, 'Shape for Old Testament Theology I-IF, with the Ipsalms related to a bi-polar tension between 'structure legitimation' and 'embrace of
pain'. Cf. also Collins, 'Decoding the Psalms', putting the emphasis on the I-psalms
as sub-units with a function in the literary whole of the 'Book of Psalms'.
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Between Sheol and Temple
Exodus 32 in its context is given to a consistently sacred frame of
ideological language, the description of the prophet in a sacred landscape
in 1 Kings 19 is related to a biographical frame of the prophet's normal
life. In Isa. 1.1 Off. and Jeremiah 7, the concept of dwelling in the temple
is connected to social behaviour outside the sanctuary. The linkage of
everyday interests and the real problem as described in the sacred language is especially well illustrated by the story of Hezekiah's sickness in
2 Kings 20 (cf. above Chapter 2). In these applications two types of
biography seem to be related to each other, the normal biography of
everyday life and the sacred biography connected to temple categories.
The interrelationship of the two levels of reality could be illustrated by
the story of 1 Sam. 1-2. In the present context the ordinary Hannah of
ch. 1 is identified with the I-figure of 2.1-10. The two biographies are
linked by the hitpallel of Hannah related to the divine intervention
(ISam. 1.10,12,26; 2.1).
In Psalm 62, the relationship to normal reality is especially clearly
expressed by the I-situation extended into a situation of admonishment.
As representatives of a very normal, non-sacred humanity, the people
are related to the I-figure as the relevant paradigm, and thus invited to
enter the same reality of sublime dwelling in the temple. The motifs of
the evil are an expression of the difference and the connection between
the two sets of reality. To the I, the evil represent active enemies. To
the people, the evil are negative figures of identification. Impressed by
the success of the evil, the people themselves can become evil.44
Alternatively, the I represents a positive figure of identification.
Trusting' God as 'refuge', the people can enter the same relationship to
God. In this way, normal reality seems to be immediately linked to the
sacred reality, the language referring to situations of religious orientation.
This can be illustrated, too, by the relationship of Psalm 62 to Psalm
26. The application of dwelling in the temple in Psalm 62 corresponds to
the use of way motifs in Psalm 26, referring to comparable aspects of
single-minded volition and religious orientation. Fundamentally, the
function of the evil corresponds in the two texts. In Psalm 62, the threat
of the enemies consists in pushing the I from his place of standing. In
Psalm 26, the evil are visualized as tempting places of dwelling, leading
the I from the way and ultimately to Sheol. On the other hand, the
44. To this connection between the evil as negative paradigms and as enemies cf.
above to Ps. 36 and further Prov. 1.10-19 on the evil seducing the admonished You to
enter a state defined as active enmity against 'the innocent'.
6. Psalm 62: The Confessor as Temple Dweller
261
motifs on the evil in Psalm 26 also corresponds to the exhortations of
Psalm 62. The people of Psalm 62 are related to two alternative objects
of batah—'God' juxtaposed to 'oppression and robbery' linked to
'weightless' humanity. This corresponds to the contrasts of locality in
Psalm 26, represented by the temple juxtaposed to the dwelling-places of
the evil. For the people of Psalm 62 as for the I of Psalm 26, the evil
represent negative figures of identification, leading to the 'emptiness' of
Psalm 62, ultimately to Sheol in Psalm 26. In this way, the different
figures of Psalms 26 and 62 seems to refer to different stages of religious choice and commitment, the I-figure of Psalm 62 presenting himself as a relevant paradigm for very normal and unperfected beings.
The connection between the reality of the paradigmatic I and the
ordinary reality of the admonished people is stressed by the parallel situation of the I admonishing his soul. The significance of this situation is
seen from the corresponding literary frame of Psalms 42-43 and the
motif development of Psalm 131. The address to the soul presupposes
an inner dichotomy of stronger and weaker parts. With this dichotomy
of inner being related to the act of confession and trust and connected to
the crisis, the address to the soul clearly refers to very ordinary reactions
of emotional and mental nature, comparable to the reactions of the
people confronted by the temptations of empty success in Ps. 62.9ff.
Moreover, the motif development of Psalm 131 demonstrates that the
situation of encouragement and admonishment refers to a definite situation, the soul in a position to become really 'still'. Psalm 131 presents a
story of development, the soul gradually weaned into the perfect attitude. This could be deduced from a comparison between Psalms 131
and 42-43 seen together with Psalm 62 (cf. also the 'wholeness' of the
walker in Psalm 26), the different types of the I's relationship to the soul
suggesting different degrees of perfected confession.
The relationship of the I and his soul as admonisher and admonished
refers to internalized psychic categories of humanity split in an inner
confrontation between confessor and non-confession. Moreover, it must
be important that this situation of inner dichotomy in Psalms 42-43, 62
and 131 is part of the I as paradigm presented for identification. This
connection is especially urgent in Psalm 62, with the exhortation to the
soul extended into the exhortation to the people. In these texts, not only
the finished product of the perfect confession is relevant for the religious
application, but also the inner struggle between confession and nonconfession. In this way, the motif structure seems equally relevant for
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the perfected I of Psalm 131 as well as for the very unperfected people
of Psalm 62, and for the more or less advanced figures of the other
texts. Moreover, both for Psalms 62 and 131, the relevance for ordinary
people dominates the application with the I-figure presented as paradigm
in religious address. This could be related to the corresponding theological interest in the figure of the evil (cf. above Chapter 5).
Given this background, the language of the motif structure seems to
refer to a level of reality closely connected with ordinary reality, the
stereotypical ideological motifs being a vehicle for the expression of real
autobiographic experience. What separates this autobiography from
other types of experience must be linked to the subject-matter, dealing
with a story of religious experience and development. Moreover, the
language describes a variety of experience, related to different levels of
religious being. The relationship of the admonishing I and admonished
people suggests that categories of hierarchy are important for the applications of this language. The hierarchic difference is connected to different levels of religious being expressed by the categories of the motif
structure, the actors of the different levels related to each other in a
parallel striving towards a given aim.
4. Confession in Crisis
We have found different expressions for the religious aim as presented in
the different texts. Usually the summum bonum of the motif structure is
connected to enemy or way motifs and/or of dwelling in the temple,
with the special relationship to Yahweh as the concentrated expression
of the crisis solved/dwelling in the temple. Usually the problem of the I is
negatively described as connected to some crisis, expressed in prayers
and descriptions of the crisis, dwelling in the temple more indirectly
expressed as the ultimate happy end.
The motif contraction of Psalm 62 (cf. above), supported by the motif
development of Psalm 131 and the literary frame of Psalms 42-43, puts
a special emphasis on the situation of the I as confessor in crisis. In
this psalm the confession is related to some future divine intervention
(vv. 12-13). Thus, also, this psalm reflects the motif structure as a series
of events, ending in some climax of miraculous intervention. On the
other hand, the composition concentrates the motif structure into the
imagery of the I-figure as confessor. Connected both to enemy and
temple motifs/relationship to God motifs, the expressions of confidence
6. Psalm 62: The Confessor as Temple Dweller
263
and trust represent the interest of the composition. This could provide a
key also to the other texts, as an indication of what it is all about.
Usually the I-psalms reflect a problem, with God for the ultimate
problem solver. On the other hand, the prayer is connected to confessionary expressions of trust. This connection has posed a classical
problem for form-historical analysis. The forms of confidence and trust
in the prayer psalms correspond to similar forms in psalms of thanksgiving. For the prayers, the laments and prayers have been seen as
central to the literary character, immediately translated into some
biographical and ritual situation centred round the crisis and the interest
of crisis solution. As a reflection of a ritual and life situation, the prayer
can be separated from the genre of thanksgiving as a reflection of a
completely different life/ritual situation. However, this understanding has,
in some ways emphasized the problem. The prayer situation understood
as a situation of despair and anguish is not immediately reconcilable with
the situation of confidence expressed by the elements of confession.
This problem was seemingly solved by the assertion of oracular or
other divinatory events as decisive for the literary structure of the prayer,
by Mowinckel and Begrich especially. At least some of the expressions
of confidence could be singled out and seen as the I's response to the
divine promise. In this way, elements within the prayers could be related
to similar elements in the thanksgiving genre without disturbing the
criteria for formal and ritual classification.
But the problem represented by the forms of confidence in the
prayers—and thus also the problem of the function of the prayer psalm
in I-form45—has remained. This is demonstrated by the early discussion
on the subgroup(s) of psalms of confidence or protection which formally
links the two types of prayer and thanksgiving psalms.46 Related to
criteria of cult, this subgroup is understood to refer to other types of
biographical and ritual situation.47 But when textual categories are
45. Cf. especially Delekat, Asylie, pp. 11-12, on the differences between prayers in
I-form and the concrete examples of prayers found elsewhere in the Old Testament.
According to Delekat, 'private Klagegebete in poetischer Form' represent purely
literary phenomena, while all 'im AT erhaltenen Gebete am Tempel sind
Prosagebete', never 'sung' or 'played', but related to qdrd, za' aq, etc.
46. Cf. also the difficulties of any precise application in the concrete materials of
the idea of the 'Salvation oracle' or a similar form for divine intervention, here
demonstrated in the introductory notes to Pss. 27 and 62.
47. E.g. H. Gunkel, Einleitung in die Psalmen. Die Gattungen der religiosen
264
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emphasized, the all-important significance of the cultic principle is
weakened in favour of literary or theological concerns. The linkage of
confidence psalms to the two main types of I-psalm makes the function
of the prayer psalm problematical.48
The understanding of the texts as expressions of a given motif
structure of ideological nature would stress the connection between the
different types of I-psalm. The different types—and indeed the great
differences between individual texts traditionally understood to represent
one type!—could reflect that they represent different parts or aspects of
the motif structure. As such, they would be related to each other not
only as representing different events of an ideologically given pattern,
but also as linked by a basic common ideological interest. With the confessions of confidence and trust as the most impressive common elements, it is natural to stress these elements as the basic expression of this
interest. Thus, they could also be central to the application of the motif
structure in the prayer psalms.
This can be concretely illustrated by Psalms 27 and 62. In the
two texts, the confessions are elaborated into relatively independent
Lyrik Israels, Zu Ende gefiihrt von Joachim Begrich, II (Gottingen: Vandenhoeck
& Ruprecht, 1966), pp. 254ff., on confidence psalms as derived from the
'Vertrauensaiisserung' of the laments as 'Keimzelle', and Mowinckel,
Psalmenstudien 1, pp. 125-26, on whether confidence psalms should be related to the
genre of lament or thanksgiving. Later, Mowinckel stressed psalms of confidence as
in some cases indistinguishable from thanksgiving psalms (Psalms II, p. 41), in other
cases as a subgroup of 'protection psalms' from laments (Psalms I, p. 20). The
' "mixing" of eulogy and thanksgiving and confident prayers "reflect" earlier times,
when the different kinds of psalms had not yet been distinguished from each other
and separately cultivated according to their special uses in the cult'. These deliberations clearly demonstrate that it is not the literary categories, but the application of the
cultic principle which is decisive for the classification of the different genres. The
recalcitrance of both the problem and the methodological model is demonstrated by
Gerstenberger, Der bittende Mensch. On the one hand, the prayer is understood as
the characteristic element for the prayer psalms connected to a setting of
'Bittzeremonie' (pp. 119ff. 134ff.). On the other hand, Ps. 62 can be classified as a
prayer psalm 'ohne Bittformulierung' (p. 124).
48. The possible significance of the co-existence of prayers and laments together
with expressions of confidence is illustrated by Brueggemann, 'Shape for Old
Testament Theology I-IT. The laments are used as the prime expressions for the
'structure legitimation' and protest seen as basic principles for the development of an
Old Testament theology. Cf. similar criteria applied for a differentiation of types of
prayer psalms in Broyles, Conflict of Faith.
6. Psalm 62: The Confessor as Temple Dweller
265
subunits. Pss. 27.1-6 and 62.2-8 are seen as individual compositions (cf.
the introductory notes to Chapters 4 and 6) and could be related to, for
example, Psalm 23 as three parallel psalms of confidence. It is natural to
suppose that the function of the three expressions—also with two of
them as sub-units within contexts—must be rather closely related. The
independent function of Psalm 23 as expression of the I's confession
must correspond to the function of Pss. 62.2-8 and 27.1-6 within their
respective contexts. The function of Pss. 27.1-6 and 62.2-8 must be
related, the first connected to prayers, the other to admonishments.
Similarly to Pss. 62.2-8 and 23, the I as described in 27.1-6 must reflect
a special emphasis on the I as confessor.
Above, we found that the prayers of Ps. 21.Iff.represent a particular
application of the I as confessor. While the self-description in vv. Iff. is of
general character, the parallel connection of crisis and prayer in vv. 7ff.
connects the situation to some determinate crisis. In this way, the connection of terrible suffering and the turning to Yahweh in prayer could
represent the sublime expression of the confession (cf. above to the
refrain of Psalms 42-43 and further Pss. 36.2-5, 6-10, 84.2-8). This
would correspond to the motif application of Psalm 62, with the motif
structure contracted into the imagery of the I as confessor related to
ordinary people as paradigm and admonisher. Such an interest could be
linked to the use of a special type of statement in these texts, usually in
the third person, which expresses general religious truths of dogmatic
character. They are given to the fate of the evil (cf. above to Pss. 5.5b,
6a; 36.13; 62.10; 140.12) and the positive contrast figures (cf. above to
Pss. 5.12; 84.5-8, 13; 140.14). Often these statements are related to
similar statements on Yahweh (cf. above to Pss. 5.5a, 6b, 7, the last sentence of 12a, 13; 84.12; 140.13; and 62.12-13).
We found these statements central to the composition of the individual
text, related to the descriptions of the enemies as evil, to the contrasting
self-descriptions, and also to the prayers. In relation to the I-forms, these
statements represent the religious paradigm, the I-forms an application of
parts of the paradigm. Dominated by the prayers, the I-forms can be
said to represent the paradigmatic story in subjunctive form.
The importance of these statements is also stressed by their compilations in Psalms 34 and 37. The connection to an I-story in Ps. 34.2-7
(cf. also the I-forms Ps. 37.25, 35-36) formally links these compilations
to the literary situation of the I-psalms. Connected to a frame of
admonishment, the applications of these statements in Psalms 34 and 37
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Between Sheol and Temple
correspond to Psalm 62. Both the general proverbial form of these
statements and their use in Psalms 34 and 37 demonstrate that they
must represent some special religious knowledge. This can also be seen
from their introduction 'I know' in Ps. 140.13-14 and by the special
introduction of 62.12 as divine speech, responded to in v. 13.49
For our understanding of the special character of this 'knowledge', its
connection with religious experience must be important. The significance
of the expressions on the special relationship to Yahweh of, for example,
Ps. 27.4 and further vv. 8-9, 36.8-10, 42.2-3, 43.3-4, 84.3, 11, 140.14
together with 5.9, 27.11 are usually ignored.50 Exod. 33.18ff. and the
parallel 1 Kings 19 suggest that the expressions could refer to experiences
of a rather exclusive character (cf. above Chapter 3). The modifications
of especially Exod. 33.20, 22-23 demonstrate the significance of such
expressions understood in the literal sense, and presuppose reflection on
their validity. In a context of the Sinai revelation where the special relationship to Yahweh is consistently described in categories of sacred
locality, Exod. 33.20, 22-23 link the experiences of Moses to a traditional background of what we could label 'mystical experience'.
Indirectly, these critical modifications stress the extraordinary character
of such events, both with regard to their contents of relationship with
Yahweh and to the stature of the people involved. Either, usually, presented in a series of events leading to the ultimate mystical experience
or contracted into one situation of relationship as in Psalm 62, the
49. Stressed as a 'real' oracle by Eichhorn, Gott als Pels, p. 38, connected to a
general understanding of the I as oracular intermediary in psalms with 'Pels, Burg
und Zuflucht' for Yahweh-designations. The supposed character of v. 12 as a concrete message in a concrete situation of crisis corresponds badly to the general
character of this 'oracle', e.g. Beyerlin, Die Rettung, p. 28.
50. Probably due to the usual transcription of the texts into methodological
models which stress categories of 'normal' socio-historical reality and some ritual
practice orientated towards the solution of problems of political/national or private
character. Cf. on the other hand Eichhom, Gott als Pels, and also the intimations of an
'inneren Kreis von Riten, Weihen und Erlebnissen' reserved for special cult servants
by von Rad, '"Gerechtigkeit" und "Leben"', pp. 239-40. It should also be noted
that to Mowinckel the very concept of cult was linked to categories of 'feeling' and
'religious experience'. Properly executed, certain types of rite would lead to strong
experiences of 'ecstatic' character for the participants, Psalms /, p. 15 and especially
'Det kultiske synspunkt som forskningsprincip', p. 25; cf. Hauge, 'Sigmund
Mowinckel and the Psalms', pp. 69ff.
6. Psalm 62: The Confessor as Temple Dweller
267
significance of the confession must be seen in the light of this extraordinary experience.
For this reason, the application of the special statements of religious
knowledge in the I-psalms must be important. Seen for themselves, the
statements seem rather bland and self-evident. But as confession of the
truth of the paradigm in a situation of crisis, they could have a much
more significant function. Stated by the I in a context of suffering and
impending death, they represent concentrated expressions of the I as
confessor and thus also as potentially related to the experience of divine
intervention. Confession in crisis implies the ultimate confrontation
between two sets of reality, with biographical reality opened for the
divine intervention. Thus, the application of the religious paradigm in the
I-psalms, stated as really true, could represent an extraordinary event.
This could be linked to the categories of paradigm and actualization
which seems to characterize the I-psalms. With the I-story as actualization of the paradigm and the I the embodiment of the paradigmatic fate,
confession in crisis would represent the sublime expression of the
qualified biography. The image of the I as the ultimate confessor in Pss.
27.1-6, 62.2-8 together with Psalm 23 on the one hand, and the development of the soul motifs in Psalms 42-A3, 62, and 131 on the other hand,
stresses the significance of the connection between autobiographic
experience and the ideological definition of religious reality.
These implications, both for the general statements of religious truth
and for the expressions of confession in I-form, could be illustrated by
the development of the I-story in Psalm 73.
5. The Way to Confession (Psalm 73)
The formal structure of this psalm51 is characterized by introductory and
51. Characterized as a 'Wisdom Psalm' by Gunkel, its history of classification
demonstrates the lack of criteria for a proper labelling as well as the elusive character
of 'wisdom' when applied outside certain established genres, e.g. Murphy, 'The
Classification "Wisdom Psalms'", and especially Gerstenberger, Der bittende
Mensch, p. 126. Gerstenberger solves the dilemma of conflicting data by separating
between criteria of form and function. The materials reflect wisdom, while the function
of the texts is cultic. A corresponding separation is traditional for the understanding
of Ps. 73. Although the influence of wisdom is generally acknowledged, the psalm
has been held to represent the typical genres of the I-psalm. Often labelled a psalm of
thanksgiving (Mowinckel, Psalms II, pp. 35ff.; Schmidt, Psalmen, p. 140; Kraus,
Psalmen, p. 504; Murphy, The Classification "Wisdom Psalms'", p. 164), it has
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concluding statements of general nature in vv. I52 and 27:
Yes! good for Israel is God, for the pure of heart!
For behold! those distant from you shall perish.
You annihilate everyone whoring himself away from you!
These statements represent simple sentence constructions, based on
qualifying terms in a subject position (v. 27a) or as objects related to the
divine acts (vv. 1, 27b), thematically given to the fate of the qualified.
This corresponds to the other statements of religious truth. Also in this
text (cf. especially Pss. 5 and 140), the two statements form a contrast
saying. In this psalm their formal connection is stressed by the following
statements vv. 2 and 28,53 in the first person and introduced by wa'ani.
also been seen as a psalm of trust (McCullough, Psalms, p. 390) and even as a lament
(Gerstenberger, Der bittende Mensch, p. 118, with v. 24 for the prayer, vv. 18 and
27 for 'Feindverwiinschungen', p. 126). And such classifications have been related
to the typical form-historical settings of, for example, sickness (Mowinckel and
Schmidt, further Seybold, Das Gebet, p. 68), the royal sufferer surrounded by
national enemies (Eaton, Kingship, p. 76; E. Wiirthwein, 'Erwagungen zu Psalm 73',
in W. Baumgartner (ed.), Festschrift fur Alfred Bertholet zum 80. Geburtstag
gewidmet von Kollegen und Freunden (Tubingen: Mohr, 1950), pp. 543ff.; cf. also
Birkeland, Die Feinde, p. 272) or in ritual humiliation during the New Year Festival
(H. Ringgren, 'EinigeBemerkungen zum LXXIIIPsalm', VT 3 [1953], pp. 270-71).
Or the I is seen as 'ein levitischer Kultprophet am Zionsheiligtum' by Eichhorn,
Gott als Fels, p. 43 or related to the asylum institution with the psalm as
'Asylfliichtlingstheodizee' by Delekat, Asylie, pp. 250ff. Recently, however, the
sapiential aspects are stressed as decisive for the character of the psalm, L.G. Perdue,
Wisdom and Cult. A Critical Analysis of the Views of Cult in the Wisdom Literatures
of Israel and the Ancient Near East (SBLDS 30; Missoula: Scholars Press, 1977),
pp. 290-91; Stolz, Psalmen, pp. 47ff.; Croft, The Identity of the Individual, pp. 161ff.;
K. Spronk, Beatific Afterlife in Ancient Israel and in the Ancient Near East (AOAT
219; Neukirchen Vluyn: Neukirchener Verlag, 1986), pp. 315-16; and essentially also
J.F. Ross, 'Psalm 73', in J.G. Gammie et al. (eds.), Israelite Wisdom. Theological
and Literary Essays in Honor of Samuel Terrien (Missoula: Scholars Press, 1978),
p. 170; J.C. McCann Jr 'Psalm 73: A Microcosm of Old Testament Theology',
in K.G. Hoglund et al. (eds.), The Listening Heart. Essays in Wisdom and the
Psalms in Honor of Roland E. Murphy (JSOTSup 58; Sheffield: JSOT Press, 1987),
pp. 248-49.
52. Stressed as 'the basis for the structure', Perdue, Wisdom, p. 288 and by Stolz,
Psalmen, p. 47 as a 'Verallgemeinerung' of what 'das Vertrauensbekenntnis im IchStil formuliert'; cf. also McCann,' 'Ps 73', p. 249 on vv. 1, 15, 28.
53. The contrast relationship between the two verses as 'inclusion of the whole
poem' stressed by Spronk, Beatific Afterlife, p. 319.
6. Psalm 62: The Confessor as Temple Dweller
269
The first-person statements of vv. 2 and 28 have a contrast function
related to the preceding confessions. In v. 28, the qualification of
'nearness' contrasts the I to those 'distant' and 'moving away' from
God in v. 27 (cf. the similar relationship for Ps. 5.8 within vv. 5-7).54
Similarly, v. 2 describes the I as 'almost' a contrast figure to the 'pure
of heart' of v. 1. This is followed by a description of the 'almost' event
of falling, ended with the rhetorical anti-confession of vv. 12-14.
Corresponding to vv. 1-2 and 27-28, vv. 12-14 consist of a general statement (v. 12), contrasted by I-forms (vv. 13-14). Verses 13-14 are linked
to the fundamental confession of v. 1 by the motifs of purification and
the introductory 'afc-element (cf. this element introducing the real truth
on the evil in vv. 18-20). The introductory hinne of v. 12 corresponds to
the concluding statement on the fate of the evil in v. 27.55
This structure stresses the significance of the general statements of
religious truth for the composition as a whole. Verses 1 and 27 together
with vv. 12-14 and 18-20 form central elements of the literary development, the statement on the fate of the positive paradigm, v. 1, connected
to the anti-confessional I-forms, vv. 13-14, the contrast statement on the
fate of the evil, v. 27, to the anti-confession, v. 12, and the concrete
insight of vv. 18-20.
The development of the general statements is connected to a special
application of the stereotyped elements of the lament. Isolated from the
context, vv. 6-11 represent a normal description of the evilness of the
evil. As usual, the I is described as a contrast figure (v. 13; cf. the similar
contrast in Ps. 26.4-6). But the introductory 'in vain' in v. 13 continued
by v. 14 together with the introductory narrative in vv. 2-3 and the
statements vv. 4-5 turn the stereotypes upside-down. Verse 12, which
concludes the description of the evil, is in this context made into a
statement on the positive fate of the evil, while the pious I represents the
negative fate.
The rhetorical anti-confessions of vv. 12-14 resulted from experience
of what took place 'in reality'. The observations 'seen' (v. 3b), are
abstracted into the dogmatic statement of v. 12 together with vv. 13-14
54. Cf. also the similar relationship signalled by the wa 'am-element vv. 22-23,
with two statements contrasting the las animal 'with you' and as the confessor 'with
you'.
55. According to Spronk, Beatific Afterlife, p. 319, these elements function as
compositional markers, 'akvv. 1, 13, 18 introducing the three 'stanzas', hinne of
vv. 12 and 27 at the end of the first and last 'stanza'.
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as the given truth on the fate of the evil. Not totally overwhelmed by his
observations from real life56 however, the I's anti-confession was not
uttered (v. 15). But the mental and emotional anguish and the efforts to
understand (v. 16) witness the continued crisis.
The description of the crisis conforms to the motif structure of the
other I-psalms. Verse 2 represents an imagery which corresponds to,
especially, Ps. 62.4-5 and further Pss. 36.12-13, 118.13. The I is 'almost
bent down with regard to my feet', while the 'foot-steps' of the parallel
v. 2b link the imagery to the concept of way. Reflecting motifs of
standing/ falling, v. 2 related to v. 1 describes the I as 'almost' suffering
the negative fate of the evil, contrasted to the 'goodness' of the fate of
the pure.
In v. 18 the same type of motif describes the fate of the evil,57 connected with motifs of death and annihilation in vv. 19-20 and also 27.
Thus, as in the other texts, the I and the evil are related to the same negative fate in some kind of either/or relationship. Usually this relationship
is expressed by the situation of enmity, the evil enemies seeking the life
of the I. Thus in, for example, Ps. 118.13, the imagery of Ps. 73.2 is
connected to a scene of the enemy 'pushing' the I. In Psalm 73 the
threat of the evil as provoking the 'bentness' is of purely mentalemotional nature, connected to the reactions of the I on the success of
the evil (vv. 3ff.). But in Psalm 62, the two types of motif application are
combined. The description of the enemies is given to the imagery of
'pushing', while the admonitions of vv. 9ff. reflect experiences similar to
Psalm 73, with the evil as negative figures of identification connected
with their success in life. But even with these differences, the types of
motif application correspond. Both for Psalm 73 and the admonishments
of Psalm 62, the evil represent the threat of failure to the I within the
categories of the motif structure.
As usual for the other applications of the motif structure, the solution
of the crisis is linked to two sets of motifs: the local categories of
dwelling in the temple and the destruction of the evil. In this text, local
motifs on the good place are found within three types of application. The
I 'coming to the temple' of v. 17a (cf. especially Pss. 42.3,43.3-4) represents the central event. Here this event is simply stated without any
56. On this background, the admonishment of Ps. 62.11 must carry a heavy load
of meaning as a compressed result of the confrontation between two sets of truth.
57. The motif connection between vv. 2 and 18 is pointed out by Kraus, Psalmen,
p. 508; Stolz, Psalmen, p. 49; McCann, 'Psalm 73', p. 249.
6. Psalm 62: The Confessor as Temple Dweller
271
implication of miraculous categories of divine intervention comparably
to, for example, Ps. 43.3-4 with motifs of guidance and admission. Temple
entrance in this type of usage can be connected to the volitional applications of Ps. 26.6 within vv. 4-8, Ps. 5.8 within vv. 5-8 and also Ps. 84.11.
But in v. 24 we find motifs of guidance and admission connected to
miraculous categories. Here the divine 'taking' probably represents an
extension of the series of events with a future elevation unto the 'good
place'.58 Thirdly, God as 'rock' v. 26 and further v. 28 on 'nearness' to
God as 'my refuge' represents an application of dwelling in the temple
similarly to 62.3, 7. As in Psalm 62, this type of usage represents contracted types of application, which transcend ritual categories. Here,
motifs of locality are mixed with motifs of other categories to describe a
certain state of being. God as, for example, 'rock of my heart' (v. 26),
'on' whom 'my refuge is put' (v. 28) connects the local categories to
mental-emotional attitudes. But as to function, the confessions of vv. 2326, 28 can be compared to the volitional applications in Psalms 5, 26
and 84, where the local categories are more consistently used.
The significance of these categories as the fundamental expressions of
religious experience of the I is also demonstrated by the structure of the
58. Verse 24b is traditionally understood to refer to categories of the hereafter, cf.
especially Dahood, Psalms II, pp. 194-95, who also finds vv. 17-18 as an expression
for experiences in the heavenly sanctuary; Spronk, Beatific Afterlife, pp. 32Iff.,
finding a number of references to the afterlife; cf. Ross. 'Psalm 73', p. 175 for a
sceptical approach. In our context it is natural to relate ndha and laqah with divine
subject and the I for object to the motifs of guidance and admission into the temple
(cf. especially Pss. 27.5-6, 61.3 and 62.5 in addition to 43.3-4). Ps. 5 (cf. also 26) is
of special significance in this connection, combining the idea of a present dwelling in
the temple with the usual orientation towards future events of a special dwelling. This
connection would suggest Ps. 73.24 as an individual application of temple motifs
comparable to the other I-psalms. On the other hand, the traditional understanding of
Ps. 73.24 provides a good illustration of the extraordinary, 'transcendent' character
of dwelling in the temple for this and the other psalms, separate from the 'nonmiraculous' dwelling, with implications of a special relationship to the divine
presence. It is of course also possible that the motifs, centred round the contrast
localities of Sheol and temple, could refer to categories of 'beatific afterlife'—or at
the very least immediately be applicable for such categories. But with Moses and
Elijah for the most concrete figures of realization, it seems reasonable to stress the
significance of the experience of the 'beatific vision' or 'audition' as the central event
of dwelling in the temple. But with direct relationship to God as the contents of the
ecstatic experience, it would be rather pointless to try to limit this experience of
ultimate life!
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story. The I 'coming to the temple' in v. 17a is presented as the decisive
event which turns the 'almost-fallen' into someone permanently
localized 'with' Yahweh. The introductory 'until' separates between the
time of crisis outside and a new situation dependent on dwelling in the
temple. Moreover, the description retains some aspects of miraculous
categories. While the coming is stated as a fact, it is connected to some
extraordinary event which caused the new understanding.
The dependence on the traditional language is expressed by the linkage of temple motifs with the destruction of the evil. Here the two sets
are combined into one imagery: in the temple the I bin their fate of
falling and death.
'dbina could refer to different types of experience. Subordinated to
the parallel 'dbo of a, it could have a function similar to the infinitives
with le in 27.4b:
Until I came into the sanctuary of God to consider their end.
Such an understanding could be related to the mental-emotional character of the crisis, the anguished pondering transferred to the more suitable locality.59 But the similar combination in Neh. 13.7 and further in
Ezra 8.15 and Prov. 7.7 demonstrate the formal independence of 'dbind
in 27.4b and even suggests that the verb in this combination refers to
actual observation:
until I came into the sanctuary of God and observed their end.60
59. E.g. Kraus, Psalmen, p. 501, who renders the verb of v. 17b as a cohortative
'Erkennen will ich (dort) ihr Ende'. Related to an oracle or a theophany, the experience transcends empirical categories as 'prophetisch durchleuchtet', referring to categories of eschatology and 'eine letzte, nicht mehr anschaubare Gewissheit'
(pp. 507-508). For further examples of 'spiritualizing' interpretations of what really
happened in the sanctuary, cf. Ross, 'Psalm 73', pp. 165-66. The rather elusive
character of such descriptions, related to the robust concreteness of most of the
alternative descriptions referred to in the following note, suggests a lamentable lack of
categories and concepts for a precise description of religious experiences in the Old
Testament.
60. This represents the usual understanding of v. 17. While, for example, Schmidt,
Psalmen, pp. 138-39, and Delekat, Asylie, p. 252, find references to somebody 'evil'
concretely dying, the experience is usually related to ritual categories of oracular or
theophanic nature (e.g. Wiirthwein, Eaton, Perdue and Eichhorn, cf. the references
above); to some festival experience of God's great mercies in the past (McCullough)
or of the enemies destroyed in some mock battle (Ringgren). Mowinckel,
Salmeboken, pp. 156-57, combines ritual events with personal categories of inner
6. Psalm 62: The Confessor as Temple Dweller
273
While the nature of this 'observation' is rather uncertain, it must be
stressed that the linkage of motifs on the destruction of the enemies and
temple motifs corresponds to the other texts. But the type of linkage
differs from text to text, and even within the individual text. The
imagery of Psalm 73 with the fall of the evil observed in the temple
would correspond most immediately to Psalm 5 and comparable texts.
But while Psalm 5 and, for example, Numbers 16 have representatives
for the evil present as enemies, the I of Psalm 73 seems to perceive the
end of the evil en masse.
Thus, while aspects of the narrative v. 17 are uncertain, it can be seen
as an individual expression of central components of the motif structure
common to the other I-psalms. The I entering the temple, this event
somehow connected to the destruction of the evil and thus with the categories of divine intervention implied, forms the decisive event of the Istory. Its very vagueness as to detail can even be seen as typical for the
very allusive and stereotypical references to the inside experiences in
these texts (cf. above to, for example, Pss. 5.12; 140.14; 43.3-4; 84.5;
further 84.8; 42.2-3; 36.8ff.; 27.4).
In the other texts, the inside experience seems to express the climactic
event of the motif structure. In this text, it is connected to a new kind of
understanding contrasted to the prior non-ydda' of a stupid animal
(vv. 21-22). The new understanding is based on the insight into the fate
of the evil vv. 18-20, related to the anti-confession in v. 12 and the final
statement on the fate of the evil in v. 27. The consequences of this
insight are expressed in a series of confessions in I-form (vv. 23-26)
which can be compared especially to Pss. 62.2-8 and 27.1-6. They are
concluded by the general statement on the evil in v. 27 and the selfdescriptive v. 28 which contrasts the I to the negative figures of v. 27.
In this way, the I as confessor represents the happy ending of the
crisis. The new position of the I is expressed by the citation of the
conflict and experience, the new understanding connected to some deep insight
obtained in the ritual of healing. Ross, 'Psalm 73', pp. 167ff., finds cultic experiences,
however intense, inadequate to provide 'new knowledge' and 'inspiration', preferring
the 'deliberations of the wisdom schools' (p. 167) as a more plausible source. This is
connected to the plural 'sanctuaries' of v. 17a, held to refer not only to the temple
proper, but also to the buildings of the sacred compound where 'wisdom teachers
discussed the problem of good and evil' (p. 169)! To McCann, 'Psalm 73', p. 250,
v. 15 represents the central verse. It expresses the psalmist's decision to remain
faithful, which sets the stage for the reversal of perspective, vv. 18ff.
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dogmatic statements in vv. 1 and 27 connected to first-person statements of confession. The biographical data of the past are presented as
the story on how the I became confessor.
As related to categories of Wisdom, Psalm 73 is usually seen as a
reflection of a theologically critical approach to the given religious tradition, younger than the normal I-psalm. While the normal psalm reverently repeats the sacred forms of the ancient ritual tradition, Psalm 73
represents the sapiential critical examination of the tradition.61 This
model of religious development is, of course, possible.62 But in our context, it is natural to stress the connection to the other I-psalms as parallel
applications of the given motif structure. And as an expression for how
the I became confessor, with the composition centred round general
statements of religious truth connected to confessing I-forms, the
theological interest of the psalm can be related to the other texts. Psalm
62 together with 27.1-6 related to 23 are especially relevant as comparable expressions of comprehensive compositions on the I as confessor
(cf. above to Pss. 84, 36, and 26).
What is special for Psalm 73 compared to the normal expression of this
interest is the emphasis on the conflict between two sets of biographical
reality perceived by the I as 'animal' and as a man of 'knowledge', with
the motif structure given to the solution of the conflict. In this way, the
traditional language is related to the experiences of the pre-confessioner.
61. Connected to this model, Ps. 73 would at the very least be an expression for a
given stratum of religious thought, representing not only itself and other texts related
to this stratum, but also the 'older' texts as interpreted and used at a certain period.
62. A reversed model is just as possible: compared to the other I-psalms analysed
in this study, it is above all Pss. 34 and 37 which explicitly stand out from the rest,
with reduced significance of the I-forms and a marked swelling of the statements of
religious truth. If Ps. 73 represents a critical interest with regard to some tradition, it
could be related to some kind of tradition exemplified by these two psalms. Thus,
Ps. 73 related to Pss. 34 and 37 on the one hand, to the other I-psalms on the other,
could reflect that the critical interest is due to the influence of the religiosity of the
'normal' I-psalms. Ps. 73 as also the book of Job could be concrete expressions for
the reinterpretation of sapiential traditions related to the 'mystical' and 'miraculous'
categories of the I-psalms. On the other hand, the convergence of traditions in these
texts, especially if we also take the elaboration of the narrative material in the
Pentateuch into consideration, seems too complicated for any easy models of
development. Thus, also Pss. 34 and 37 as a compilation of I-story, admonishment
and general statements of religious truth can primarily be seen as developed applications of the motif structure, expressing a theological interest which correspond to
tendencies in other I-psalms.
6. Psalm 62: The Confessor as Temple Dweller
275
The psychological interest, centred round an internalized conflict, differs
from the usual application. Even as a language of religious experience,
the motif structure is given to outer categories of description. The inner
world of experience and commitment is described by a man located in a
sacred landscape of localities, related to God and to enemies. Emotional
aspects of, for example, anguish or longing are connected to the relationship to phenomena of this outer world. While we find allusions to
and hints of inner conflict, the normal expression is given to the
description of the I as the perfect confessor completely trusting in God
(e.g. Pss. 26.4-5; 84.11; 27.2-3, 5; 23.4; and 73.26).
To a certain degree, the internalized application of Psalm 73 can be
compared to the compositional frame of soul address for Psalms 42-43
and 62 (cf. Ps. 27.14). It also corresponds to the compositional development of Psalm 36 and to the motif development of Psalm 131. But in
these texts, both the material and formal repercussions of this interest
are more indirect, at least when compared to Psalm 73. By the separation of the self into I and soul, the I fills the role of the paradigmatic confessor, only the address to the soul is an allusion to the inner turmoil.
With the address to the soul confined to the refrain, the formal
significance of the address for the literary development of the motif
structure is reduced.
With the motif structure centred round the I as confessor, it is above
all Psalm 62 which represents the closest parallel. But while 62 represents a contracted version of the motif structure, the ultimate event of
dwelling in the temple identified with the I as confessor, the application
of the motif structure in Psalm 73 is more complicated. On the one
hand, Psalm 73 reflects the motif structure as a whole subordinated to
the situation of confession. Entrance into the temple (v. 17) and the
implied miraculous categories are applied to describe the inner transformation of the I—the happy ending of the story ended by the confessions
of vv. 23ff. This is also reflected by the concluding deflection into forms
of thanksgiving v. 28b (cf. the first-person forms in Ps. 26.12 together
with Pss. 52.11; 92.16; in the third person 5.12; 140.14). On the other
hand, the motifs of the confession, vv. 26, 28, underlined by the negative
v. 27 depicts the idea of permanent dwelling, now related to Yahweh as
rock and refuge. The imagery is further disturbed by vv. 23-24, with the
permanent relationship 'with' Yahweh coupled with the guidance motif
and the future elevation into 'the good place'. Thus, the application of
the motif structure in Psalm 73 reflects the dissolution of the temple
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Between Sheol and Temple
motif found especially in Psalms 5 and 26 and also expressed by the
double application in Ps. 27.1-6,7ff.
In this way, Psalm 73 can provide a dramatic illustration of the
religious significance of the confession in the other texts, especially when
connected to a situation of prayer. Turning to Yahweh in a situation of
crisis is an expression of the I as embodiment of the paradigm actualized
in the personal biography. According to Psalm 73, this position is the
result of the religious truths experienced as true, due to miraculous illumination after an anguished inner confrontation nearly leading to nonconfession.
This also means that Psalm 73 is important in connecting the literary
I-form to categories of autobiography. The narrative forms vv. 2-3, 1517 together with vv. 13-14 reflect experiences of the 'narrator's' efforts
to reconcile the fundamental religious truths with real-life observations.
The miraculous insight leading to true knowledge and the exuberant
description of the new relationship to Yahweh in vv. 23ff. are presented
as equally autobiographical. This must have repercussions for our understanding of the corresponding I-forms of the other psalms. The literary
form of the I-story in Psalm 73, evidently autobiographical, reflects both
the objective pattern of the motif structure and the individual literary
adaptation of this pattern. This corresponds to what we have found
characteristic of the other I-psalms as individual expressions of a literary
tradition connected to the motif structure. It is natural to conclude that
the other applications in I-form represent a corresponding amalgam of
the objective ideal-figure of proper religious behaviour, individual literary
elaboration, and subjective categories of individual biography.
The categories of paradigm and actualization—connected with religious practice—could explain this riddle of objective subjectivity in the Ipsalms. Such categories imply a religious practice directed towards inner
integration and internal ization of the paradigm. This corresponds to the
I-story of Psalm 73, centred round the Fs mental-emotional reactions in
connection with the conflict between the dogmatic truths and observations from real life. Similarly, the categories of divine intervention are
related to this inner conflict transforming the I from animal into a
person of knowledge. The animal-I and the confessor obviously represent
different levels of religious being connected to inner categories of perception of reality. The new understanding is expressed by the citation of
the truths in vv. 1 and 27, connected to the I-forms of vv. 23ff., contrasted by the animal anti-confession of vv. 12-14.
6. Psalm 62: The Confessor as Temple Dweller
277
This also includes a religious practice connected to categories of
development and inner change. We have repeatedly discussed the relevance of such categories (cf. e.g. Chapter 5, and discussion on Ps. 62).
Thus, the main characteristic of the I in the prayer psalms analysed
above seems to be the position in between—identifying with the positive
paradigm, in threat of suffering the fate of defeat save for divine intervention. The hero of Psalms 42-43 illustrates the dramatic character of
the religious mobility of the I-figure, with a past relationship to the
temple, now located to Sheol, praying for guidance to the temple. While
the categories of change and development in this psalm are expressed by
motifs of locality, the relationship of Psalms 62 to 73 can illustrate their
significance as connected to mental-emotional aspects.
In Psalm 62 we find two types of religious figure, aside from the evil.
The confessing I and the admonished people represent two types of
religious being. The difference between the two types is seen by the different relationship to the evil. To the I, the evil represent active enemies.
To the addressed people the evil are negative figures of identification.
Impressed by the success of the evil, the people themselves can become
evil. On the other hand—with the admonished soul linking the experiences of I and the people—the I represents the positive figure of identification. 'Trusting' God as 'refuge' (v. 9), the people can enter the same
type of relationship to God. In this way, Psalm 62 suggests an immediate
connection between the evil as negative figures of identification and as
enemies, between the evil and the people, and between the I and the
people as representing successive stages of religious stature.
This can be compared to the development of the I-figure in Psalm 73.
The I of vv. 2-14 as 'almost' becoming evil himself corresponds to the
people of Psalm 62 facing two contrasted types of 'trust'. Moreover, the
danger of evilness is in both cases connected with the impression of the
success of the evil. And the I of Ps. 73.1, 23ff. corresponds to the stature
of the I in Psalm 62.
But in Psalm 73, the two types of religious being are linked to one
figure, here referring to two successive levels of religious understanding.
The observer of reality on the animal level without any understanding
was transformed into confessor, with coming to the temple marking the
transition from one level to the other.
The two levels are depicted as strangely parallel. The 1 and the evil
represent the main actors. Both the anti-confessions of vv. 12-14 and the
proper confessions are linked to perceptions of reality. In both cases, the
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Between Sheol and Temple
fate of the evil is the object of perception, as 'seen' (v. 3) from the
animal level and as observed from within the temple (v. 17). Moreover,
the animal level was connected with religious observance (v. 13).
In this way, the biography of Psalm 73 illustrates categories of inner
change. The religious reality of the different figures in Psalm 62 is
bridged within one individual biography of development from animal to
person of knowledge (cf. the applications touched upon in Chapter 3,
and Chapter 5). A very ordinary state of religious being and the exalted
stature of the I as confessor represent successive stages of individual
development.
The close relationship between the positive and negative figures, the I
'almost' becoming evil, also illustrates the possibility of negative development. This provides a background for the theological interest in the
figure of the evil (cf. Chapter 5), in Psalm 73 developed in personal and
psychological categories. With the mobility of the I-figures in the sacred
landscape of Sheol and temple, and the self split into confessing I and
admonished soul in Psalms 42-43 and 62 for parallel illustrations of
changes in being, the contrasts of Psalm 73 expressed in a series of succeeding events in one biography must be important for the other texts
(cf. the implications of inner development in Ps. 131).
The difference of religious stature between the I and the people in
Psalm 62 demonstrates the real significance of the inner change which
has taken place in the biography of the I in Psalm 73. The miraculous
story of inner transformation in Psalm 73—connected to a story of crisis
and anguish—should be taken literally as an expression of events of
special character, the I as confessor presented as an extraordinary being.
In both cases, the psychological aspects of the I-story in Psalm 73 could
provide a key to the understanding of the applications of the motif structure in the other I-psalms.
Finally, Psalm 73 is important in demonstrating that the categories of
paradigm and actualization connected to ideas of individual development
and change of being are related to some special experience of the divine
reality. The realization of the objective truths of vv. 1 and 27 seen in
isolation could refer primarily to experiences limited to psychic processes
of mental-emotional nature, naturally related to, for example, ponderings
and learned deliberations of sapiential character.63 Whereas psychic
63. Such categories seem intransigently connected to texts deemed influenced by
Wisdom, e.g. Ross, 'Psalm 73', pp. 167ff., and especially Beyerlin, Wider die Hybris,
pp. 83ff. where the confluence of sapiential and psalmic traditions in Ps. 131 is
6. Psalm 62: The Confessor as Temple Dweller
279
processes of opposition and acceptance—probably connected to ponderings and deliberations!—seem real enough, the context relates them
closely to categories of religious experience and non-experience. This is
expressed by the connection of the dogmatic statements and confessionary I-forms of vv. 1-2 and vv. 27-28, in addition to vv. 23ff. The new
understanding is obtained by the divine intervention (cf. the confession
Job 42.2-6). It leads to the new relationship to Yahweh as described
vv. 23ff.
This corresponds to the miraculous categories of the other I-psalms.
What is special for Psalm 73—similarly to Psalm 62—is the emphasis on
the state of confessor in the application of the motif structure. Usually
the literary present is presented as a situation of confession, while the
categories of dwelling in the temple/special relationship to God represent
the ultimate event of the motif structure. Thus, the ultimate event of the
positive fate is the object of confession. In Psalms 73 and 62, the two
situations are identified, the bliss of permanent dwelling in the temple in
the divine presence contracted into the situation of the confessor 'upon'
or 'together with' God. The special character of this contraction is illustrated by the attack of the enemies 'in the temple' in Ps. 62.4-5 (cf. also
73.26). The inside situation of permanent bliss is connected to the outside situation of suffering. Thus, the central ideas of dwelling in the
temple seem to have been transferred into a situation of religious devotion
in life, with trust for the main characteristic. This seems to include
conflict and suffering as a permanent aspect of the religious life.
It is possible that this application represents a reinterpretation of the
explained by the I as a professional teacher of wisdom with tenure at the temple
school of Zion, the occupation of 'Schreiberschulung' thus also connected with professional intercourse with psalmic texts. In addition, the author 'war auch ein
Leidender', adding depth to the professorial attainments (p. 86). A third example is
represented by the attempt to identify the theological impact of Ps. 73 by McCann,
'Psalm 73', by the application of Brueggemann' s categories of 'structure legitimation'
and 'embrace of pain'. According to Brueggemann, 'Shape for Old Testament
Theology I-IT, Old Testament theology should be understood from a bi-polar tension
between these phenomena. 'Faith' 'reflects the ambiguity of our experiences about
structure and pain caused by structure' (p. 31). McCann finds this tension also decisive for Ps. 73. The psalmist legitimates 'structure by professing his loyalty to the
community and its institutions', and on the other hand acknowledges his experience
of pain by challenging 'the common theology'. In this way, 'the theological richness
of Ps. 73 consists of its holding in tension the legitimation of structure and the
embrace of pain' ('Psalm 73', pp. 252-53).
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Between Sheol and Temple
motif structure, when compared with the normal I-psalm. The definition
of the tabernacle in Exod. 40.36ff. as a sanctuary for the people of the
way, the divine presence the signal for departure, may represent a parallel
expression of such an understanding (cf. below to Lam. 3.27ff.).
Given the richness and variety of individual application demonstrated
by the different texts, Psalms 62 and 73 can as well express a special
emphasis on certain aspects, parallel to other applications. Both psalms
contain elliptical allusions (62.12-13 and 73.24) to an ultimate happy
ending which transcends the present bliss. Moreover, the concepts of
suffering and crisis—mostly described in the categories of the enemy
situation—represent an integral part of the I-story. Connected to confession and prayer and related to the divine intervention, suffering seems
given as an ingredient of the human biography opened to the divine
reality. From the very number of I-psalms, the significance of crisis to
the religious story seems, if not a theological, a statistical and practical
fact.
The various descriptions of the crisis obviously do not prescribe suffering, as a religious virtue to be embraced64 willingly and eagerly, as a
prerequisite of dwelling in the temple. Lam. 3.27ff. represents an example
of a prescription of suffering, clearly a reflection of the same tradition as
in, for example, Psalms 62 and 131.65 Here the experience of suffering
common to the I-psalms is set in proverbial form, proclaimed as a good
religious exercise for a young man. On the other hand, this proverb
reflects that confession in crisis (vv. 28ff.) represents the paradigmatic
attitude. In the I-psalms, a state of crisis and suffering by itself represents
an intolerable situation, met with revolt and sought to be overcome.
Conflicts are clearly presented as a normal phenomenon of the religious biography, in the form of outer crisis and—usually implied—inner
conflict. This could be connected to the basic understanding of reality
expressed by the motif structure. The crisis is usually connected to categories of death—the I defined as a being in movement between Sheol
and temple. With divine intervention necessary to avoid the negative
fate, death and agents of death represent the basic fact of human reality.
Even with reality extended by the concepts of way and temple, the positive fate represents miraculous events.
64. Cf. Brueggemann's expression 'embrace of pain' 'Shape for Old Testament
Theology II'.
65. Beyerlin, Wider die Hybris, pp. 63ff.
SUMMARY
In the analysis of individual texts we have repeatedly faced the same
basic questions. Again and again there has been reason to stress the conceptual and ideological character of the language of the I-psalms, which
make the traditional deductions of ritual and biographical character
rather questionable. Fundamentally, the language seems to refer to itself
as a religious language, expressing an interpretative symbol-system of
conceptual character. This seems to be connected with the basic motifs
and concepts as expressions of a paradigm of religious reality.
It is possible that this language can be expressed in parallel concepts
and motif sets. But the connection to categories of locality seems the
basic expression—at the very least the most accessible for observation
and analysis. In the religious description of humanity being related to
God, humanity is set in a sacred topography of contrast localities connected to the idea of movement between the contrast localities.
'Temple', 'Sheol' and 'way' seem to represent the basic conceptual
structure of this description.
On the other hand, the individual psalm seems to be a reflection of
biographical experience. The biographical character is directly connected
with the ideological aspects, the given truths of the religious tradition
connected to first-person forms. The background to this connection of
religious stereotype and intense personal application could be related to
categories of paradigm and actualization. The I-psalm reflects an effort
to integrate the paradigm with personal experience. The I represents an
embodiment of aspects of the paradigm.
This implies that it is difficult to find satisfactory categories for the
type of language involved. It could be transcribed as a symbol system or
perhaps better as metaphorical language, centred round stereotypical
root metaphors and secondary expressions. This would certainly reflect
important aspects of this language system. Thus, the I localized on God,
only tottering a bit while the enemies are pushing, clearly represents an
indirect visualization of any life situation. The temple motifs represent
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Between Sheol and Temple
traditional literary stereotypes for the description of such a situation.
The language seems to serve as the vehicle for intense personal experience centred round an experience of God, connected with ideas of the
development of inner wholeness and personal integration of the
paradigm. To a certain degree, individual reflections of such an interest
can be observed. But related to this interest, the austerity of the language
with regard to psychological categories is remarkable. While Psalm 73 is
an expression of the I-story as internalized, the normal I-psalm seems to
express an individual application of the traditional stereotypes. This
sobriety of expression is illustrated by Psalms 42-43 in relation to 62.
While the psalm obviously is dominated by a psychological interest, this
aspect is expressed by the refrain of address to the soul and the rest of
the psalm is a normal composition.
Thus, it might be even more precise to stress the literal aspects of the
language, primarily referring to an autobiography of inner mental-emotional experience which results from the confrontation with the normal
conditions of life. The vibrancy of, for example, Psalms 42—43 must
reflect that the symbols or metaphors of a sacred topography are
applied as the precise description of biographical experience. The incredibly rich and flexible application of the basic motifs in the individual text
is an expression of the intensity of this experience, the paradigmatic
stereotypes embodied by the flesh and blood of an I.
Thus, the most important fact of the language of these texts could be
their character as expressions of an intensely personal type of religiosity
centred round defined experiences of the divine reality in the individual
biography.
The experience of the divine reality is most directly connected to the
divine intervention in crisis. The crisis is actual or expected as a given
fact of existence. It is usually connected to categories of death, with
death and agents of death as the basic fact of human reality. In this way,
the I-psalm represents an expression of the human reality, obviously
perceived as critical if not tragic, opened to the divine reality as manifested in active intervention. The individual I represents an actualization
of the relevance of divine manifestation, presented as biographical experience. The concentrated expression of this interest is found in the
emphasis on the I as confessor.
This means that the relationship between human and divine transcends
the limits of the immediate crisis. This is most clearly seen by the application of temple motifs. The crisis of the I is related to categories of
Summary
283
permanent dwelling in the temple connected with some special experience of the divine presence. The connection between crisis and dwelling
in the temple differs from text to text. There are even indications that
the texts could reflect different stages and levels of relationship to God,
with, for example, the successive scenes of nearness in Exodus 24 as a
picture of this process. Whatever the particular expression, dwelling in
the temple/nearness to God represent the decisive event of the religious
biography. This can be connected to basic categories of outside and
inside as an expression of two contrasted levels of being. By the idea of
dwelling in the temple, the fundamental duality between sets of reality
actualized by the crisis is dissolved. By the religious hero dwelling in the
temple/related to the divine presence, human and divine reality is united as
'eternal' togetherness.
However, the single composition being given to certain interests connected to aspects of the motif structure tends to blur the difference
between the motifs as expression of a series of successive events or
parallel levels. With the emphasis on the I as confessor, the I of the single
text—however subjectively perfected—embodies the paradigmatic situation of submission and devotion. Certain applications of the way motifs
(Pss. 26 and 84, Exod. 25-40) express this tendency. A picture of the
theological significance of such an understanding is given by Psalm 62.
Here the characteristics of outside and inside realities are presented as
one, relationship to enemies and to God united in one situation of
'almost non-tottering standing'.
This implies that the applications of the motif structure reflect a fundamental understanding of humans as the potential embodiment of very
different levels of being. The mobility of the I as outside and inside and
on the way is given a parallel expression by references to emotional and
mental experience. This can be connected to the categories of paradigm
and actualization. They entail psychological and mental aspects of inner
integration, centred round ideas of religious development and transformation. The inner integration should not be confined to aspects of emotion and religious feeling connected with the experience of the divine.
Thus, for example, Psalm 26 renders motifs which usually refer to miraculous events in volitional categories, with a hero totally committed
to the way. Related to more modern and better documented experience
of spiritual development, the attainments of the hero of Psalm 26
would be the result of a long process of faithful discipline. Similarly,
Psalm 131 together with Psalm 62 illustrate the perfect confession as
284
Between Sheol and Temple
the result of some discipline of stillness in crisis.
The applications of the evil motifs are a radical expression for these
ideas of inner change. The paradigmatic sentences in the third person,
and the compositional development of the normal I-psalm, seemingly
operate with an absolute separation of humanity into, for example,
saddiqim and resa'im. But a number of applications blur the difference,
with the actors as past or present or potential evil and the evil as potential heroes. The absolutes of the paradigm have been applied to a practical reality of human endeavour.
This is also seen in some actualizations of the religious paradigm. As
far as we know from more modern types of religiosity, a religious practice connected to the concepts of the motif structure would represent an
elite type of spiritual effort. The heroes of, for example, Pss. 27.1-6 and
62, not to mention Moses and Elijah, stand forth as extraordinary
figures of religious attainment. Nevertheless, the addressed You of Psalm
62 and, for example, the addressees of Isa. 1.1 Off. and Jeremiah 7
demonstrate that the religious paradigm was applied as relevant to
people of very modest attainments.
It is possible that in certain texts (cf. below) the I represents 'later'
efforts of reinterpretation and democratization of the religious ideal.
Even so, this would represent an extension of a traditional practice connected to categories of paradigm and actualization, with the heroes of,
for example, Psalms 42-43 and 73 as illustrations of radical transformation. Thus, Moses leading Israel from Egypt to the land could represent
an emotive picture both of the applicability of the paradigm as well as of
the type of elitism implied.
The human as confessor seems to represent the immediate aim of the
religious interest of these applications. This interest could also be the
background to the production and transmission of the I-psalms. As a
manifestation of the paradigmatic story, the experience of the I—told in
terms of autobiography—would be of central significance in a milieu
characterized by an interest in experience of God connected to categories of paradigm and actualization.
The I-form of these texts could directly reflect this interest. As
expression of a biography, the I is presented as living proof of the relevance of the paradigm, separate from the We of Psalm 118 or the You
of Psalm 62. But with the I as embodiment of a super-personal experience, the I-form shares the experience with listeners or readers of
the same religious practice, inviting them into an inner process of
Summary
285
identification. This could mean that a number of I-psalms apply the Iform as a literary device, as a direct expression of an interest of religious
address and indirect admonishment. But, basically, the I-form must reflect
a tradition of biographical experience, centred round the categories of
paradigm and actualization.
The number of I-psalms together with the very facts of transmission
and inclusion in the book of Psalms point to an established milieu of
considerable size and, probably, duration. Its theological significance is
demonstrated by its influence upon the elaboration of the pentateuchal
and other historiographical traditions and the sapiential tradition.
The characteristics of the religious practice deduced from the I-psalms
suggests the existence of a milieu as a prerequisite. It must have included
people very differently stationed 'on the way', probably connected in
some type of hierarchic relationship. The importance attached to the
presentation of the different heroes in the I-psalms, especially when
related to a wider set of actors, such as the We-group in Psalm 118 or
the admonished You in Psalms 31, 62 and 131, could illustrate both such
a relationship and the function of the paradigmatic figure for a wider
group.
A more precise description of the character of such a milieu must be
highly speculative. Important characteristics of the religious practice—an
established literary milieu centred round individual experience of reality
and ideas of elitism—would naturally point to a background of sapiential
practice as this is traditionally described.1 On the other hand, a religious
practice orientated towards a special experience of God—the expression
of which invites labels like 'ecstatic' or 'mystical'—would be connected
to the prophetic tradition. Especially when understood as institutionalized cult prophecy, this tradition might offer a satisfactory setting both
for the underlying religious practice and also for its literary expressions.2
Moreover, recent models which presuppose some type of confluence of
traditions, with special emphasis on the sapiential influence,3 seem to
provide relevant categories for some institutionalized setting for the language of the I-psalms.
Whereas the religious practice could be related to different types of
1. E.g. Beyerlin, Wider die Hybris, pp. 83ff. and further the preceding chapter.
2. Mowinckel, Psalms II, pp. 55ff., 92ff. and especially Eichhorn, Gott als Pels,
cf. above Chapter 3.
3. Aside from the implications of Eichhorn's Gott als Pels e.g. Kaiser, Jesaja 112, pp. 27-28, Beyerlin, Weisheitlich-kultische Heilsordnung.
286
Between Sheol and Temple
milieu, the language itself points to a basic significance of ritual concepts.
The relationship of Psalm 5 to Jeremiah 7 and Isa. 1.1 Off., emphasized
by the story of Hezekiah's healing in 2 Kings 20/Isaiah 38, demonstrates
that the main components of the motif structure as well as the structure
itself reflect the given temple ideology and the usual order of events
connected with rites of crisis. The present composition of Exodus 25^0
with the paradigm set in an environment of reinterpreted ritual reality
reflects the connection between the language of the I-psalms and ritual
language. This is also demonstrated by the relationship of Numbers 16
to 17, the former connected to the interest of Psalm 5, the latter an
expression of priestly categories. So far as we can make deductions from
language type to background, it is natural to stress a background of
normal religiosity connected with normal temple practice. This is also
suggested by Psalm 112 and 2 Kings 20, which apply aspects of the
motif structure as a relevant religious frame for situations of non-elitist,
normal biography and normal religiosity.
So, if we had to choose between the generally accepted institutionalized settings of religious activity, the language of the I-psalms would
point to a theological development of concepts connected to temple
ideology and normal practice. But, such a choice is confounded by the
relationship between Psalm 118 and the Babylonian 'I will praise the
Lord of Wisdom', suggesting the I-psalms to be expressions of an ancient
literary tradition. Also, the special character of the I-psalms makes it
impossible to identify their religiosity with normal religiosity and with
priestly interests as expressed in, for example, Numbers 17. When we
pay attention to the great number of I-psalms, this would suggest the, at
least originally, independent character of this tradition as related to the
usual understanding of 'Priestly', 'Sapiential'and 'Prophetic' settings.
Compared to such applications, the motif structure with the I-psalms as
prime literary expression seems to represent a language sui generis; on
the other hand it is malleable to different types of actualization and interest. Thus, the literary and theological connections to genres traditionally
understood to refer to different institutionalized settings, could be seen
primarily as an expression of the theological and spiritual impact of the
milieu represented by the I-psalms.
This could be illustrated by the applications in Numbers 16-17 compared to Numbers 12. The situations of the two stories correspond, with
the same set of actors connected to a parallel situation of contention and
a parallel relationship to the divine intervention. But in the one version
Summary
287
the contention is related to priestly categories of 'nearness', in the other
to prophetic.
A further illustration of the relatively independent character of the
motif structure is represented by the applications of Exod. 33.18ff. and 1
Kings 19 (cf. the relationship of Num. 16 and 17, Chapter 5, above). In
both stories the experience of God is set in a frame of professional function, but at the same time—and in different ways—the literary elaboration sets this experience apart from the context. The special experience
of God, and the events surrounding this experience, clearly reflect
events of a special character. In both cases the professional context of
mediation and renewed prophetic mission is broken by intensely personal categories and a special interest in ecstatic experience.
With regard to questions of dating and change in time, the analysis has
provided few indications. At the very least, the previous discussion on
possible background suggests the milieu of the I-psalms to be of considerable age and duration. Given the uncertainty of dating any type of Old
Testament phenomenon these days, 'considerable age' might tentatively
be rendered as pre-exilic. Thus, perhaps the best indication of development and re-application can be connected to the categories of Torah as
significant to the description of the paradigmatic figure. Ezek. 3.18ff.,
18, 33.8ff. related to Isa. l.lOff. and Jeremiah 7, with Psalms 15, 24 and
Isa. 33.14ff. as the perfected results of this interest, could suggest that at
a certain time the paradigm was expressed in a new definition of
zaddiqhood, with the qualification of the religious hero connected to
specific criteria of observance. The bourgeois ideal of the application in
Psalm 112 could represent a parallel interest in social actualization, the
soaring hero of the sacred landscape changed into confident householder. This may have been connected to an extended form of application, the paradigm of elite practice extended to the normal religious
observance of everyone. Exodus 25-40 can represent an important
expression of such an extension. The transition from Moses to people as
the heroes of the sacred story and the corresponding divine movement
from mountain to tent 'in the midst of the people' as the new place of
extraordinary meeting, represents a remarkable application of the motif
structure. On the other hand, the transmission of the texts and the
lasting influence of the religious tradition expressed by the I-figures of
the psalms have infused a radical challenge into the ordinary reality of
ever new generations as potential embodiments of T.
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and their Interrelation (BETL 74; Leuven: Leuven University Press, 1986),
pp.297-316.
Lehming, S., 'Versuch zu Ex. XXXII', VT10 (1960), pp. 16-50.
—'Versuch zu Num 16', ZAW 77 (1962), pp. 291-321.
Lemche, N.P., The Canaanites and Their Land. The Tradition of the Canaanites
(JSOTSup 110; Sheffield: JSOT Press, 1991).
Lescow, T., 'Die dreistufige Tora. Beobachtungen zu einer Form', ZAW 82 (1970),
pp. 362-79.
Lindars, B., 'Ezekiel and Individual Responsibility', VT 15 (1965), pp. 52-67.
Lindblom, J., Prophecy in Ancient Israel (Oxford: Basil Blackwell, 1963).
Ljung, I., Tradition and Interpretation. A Study of the Use and Application of
Formulaic Language in the so-called Ebed YHWH-psalms (ConBOT 12; Lund:
Liber LaromedeyGleerup, 1978).
Lohfink, N.,'"Gewalt" als Thema alttestamentlicher Forschung', in N. Lohfink (ed.),
Gewalt und Gewaltlosigkeit im Alien Testament (Quaestiones Disputatae 96;
Freiburg: Herder, 1983), pp. 15-50.
Loewenstamm, S.E., 'The Making and Destruction of the Golden Calf, Bib 48 (1967),
pp. 481-90.
—'The Making and the Destruction of the Golden Calf—a Rejoinder', Bib 56 (1975),
pp. 330-43.
Lundager Jensen, H.J., 'Efterskrift', in R. Girard, Job—Idol og syndebuk
(Fredriksberg: Forlaget ANIS, 1990), pp. 171-84.
Lundblom, J.R., 'Psalm 23: Song of Passage', Int 40 (1986), pp. 6-16.
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McCann, J.C., Jr, 'Psalm 73: A Microcosm of Old Testament Theology', in
K.G. Hoglund et al. (eds.), The Listening Heart. Essays in Wisdom and the Psalms
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pp. 247-57.
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McKane, W., Proverbs. A New Approach (OTL; London: SCM Press, 1970).
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294
Between Sheol and Temple
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Rogerson, J.W., and J.W. McKay, Psalms 1-50, Psalms 51-100, Psalms 101-150 (The
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pp. 1-26.
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INDEXES
INDEX OF REFERENCES
Genesis
1-9.17
1-2.3
1
1.26
2-4
2-3
2
2.17
3.3
3.9
3.17-19
3.19
3.22
3.23
3.24
4
4.12
4.14
4.16
6.9
7.1
12-50
16.5-14
18
18.16
18.23-25
18.23
18.24
18.25
20.4
21.14-19
21.15-16
15.13
1-13
112
15.14
113
1.15
15.16
3
219
15.17
208
9.27-33
208
10.16-19
15.18
113, 190
12
15.19-21
13.17-14.31 112
113, 115, 15.19
14-15
19-24
116, 118
101, 110- 23.20
14
12, 115, 116 24-40
24-32
116
14.11
14.13-14
24-31
159
24
110
14.30-31
101, 10815
12, 114
15.1-21
108
24.1-2
108, 110
15.1-18
108, 114
24.4-8
15.1-5
114
15.1-2
24.4
108-10,
24.9-11
15.1
112, 114
24.9
24.10
108
15.2
108
24.11
15.3
108
15.4-5
24.12-18
15.6-17
24.12
108, 114
108, 109
15.6-7
24.13
115
15.6
24.15
108
15.8-10
24.16-17
110
15.8
24.17
15.11-17
24.18
109
15.11
108
25-40
110
15.12-18
15.12-17
108
15.12
108, 109
Exodus
218
221
90
229
241, 242
212-17, 242
90
213
213
221
213
213
213
213
213
54, 213,
216, 242
54, 213
54, 213
54, 213
36, 37
36, 37
142
102
36
36
36
36, 37
36
36
36, 37
102
102
108, 115,
191
112
108
108, 109,
191
108, 109
110, 114
114
217
235
225, 238
233
232
218-20,
224, 225,
227, 229,
236, 283
219, 229
219, 229
219
219, 229
229
229
84
219, 229
219
233
219
219
229
219
218, 22427, 235-37,
240, 283,
286, 287
Index of References
25-31
25
25.1-8
25.1
25.2
25.8-10
25.8-9
25.8
25.9
25.40
26
28.1-29
28.1
28.3
28.29-30
28.35
28.36-38
28.36
28.38
28.41
29.9
29.29
29.33
29.35
29.45-46
29.45
30.12-16
30.18-21
30.30-33
31.1-11
31.2-11
31.11
31.13
32-34
32
32.1-5
32.1-4
32.1
218, 22024, 227-29,
239, 240
220, 233
220, 221
229
225
223
221
227, 233-35
224
224
225
221
222
220
222
221
220, 221
221
222
222
222
222
222
222
227, 234
233, 235
220
221
221
220
223
223
221
198, 217,
218, 223,
225, 228,
229, 234,
236, 237,
239-41
217-27,
230, 232,
233, 257
221
221
218, 220,
226, 229,
235
32.2-4
221
220
32.2
220
32.4
219
32.6
234
32.7-14
224
32.7
234
32.9-10
219
32.17
115
32.18
32.21-34.35 228
221
32.21-25
32.21-24
221, 224
32.21
221
221
32.22-23
235
32.23
32.24
221
222
32.25-29
222
32.26
222
32.29
233
32.30-35
222
32.30
234
32.31-32
234
32.32-33
32.34
235
32.35
221
33-34
104, 217,
233, 236
105, 106,
33
232, 237
235
33.1-5
232
33.1-3
232
33.1-2
234
33.2-3
235
33.3
33.4-11
232, 233
232
33.4-6
232
33.4
232, 234,
33.5
235
232
33.6
33.7-11
228, 231,
232
233
33.7
33.8
231
236
33.9-10
33.10
231
299
33.11
33.12-34.9
33.12-17
33.12
33.14-15
33.14
33.15
33.17
33.18-34.7
33.18
33.19
33.20
33.22-23
33.23
34
34.1
34.5-6
34.5
34.6-7
34.8-9
34.9
34.11-26
34.12-16
34.17
34.29-35
34.29
34.30
34.31-34
34.31
34.32-33
34.33
34.34-35
35-40
229, 231,
233, 235,
236
40
234, 235
232
235
229
229
103, 230
228, 229
101, 103,
116, 117,
154, 205,
216, 229,
230, 235,
236, 241,
242, 266,
287
231
103, 230,
266
103, 266
103, 230
219, 224,
229, 230
230
230
236
231
237
234, 235
224, 230
235
230
228, 229,
234
104, 219,
229, 235
219, 229
219
229
229
229
230
223, 224,
227, 228,
Between Sheol and Temple
300
35-39
35
35.1-29
35.1-19
35.1
35.4
35.5
35.21
35.26
35.29
35.30-36.2
35.30
36.2
36.3-7
36.3
36.5-6
36.8-39
38.21
38.24-31
39.32-43
39.32
40
40.1-15
40.2
40.12
40.16-33
40.30
40.33
40.34-38
40.34-35
40.34
40.35
40.36
42
Leviticus
10.1
13.36
27.33
Numbers
9.15-23
11.10
12
230, 239,
240
223
226, 232,
233
220
223
226, 229
232
225
223, 225
225
225
220
223
225
220, 223
223, 225
223
220
220
220
223
223
223, 233
223
221
225
223
225
223
223
230
234, 235
236
236, 279
102, 153
212
121, 122
121
235
232
206-11,
215, 232-
12.1-2
12.2
12.3
12.4-5
12.4
12.5-7
12.5
12.6-8
12.6
12.7
12.8
12.9-10
12.9
12.11
12.12-15
12.13
12.28-31
16-17
16
16.1-11
16.1-7
16.1-3
16.1
16.3
16.4
16.5
16.6-8
16.7
16.8-11
16.8
34, 239,
240, 286
207
199, 206,
207
199, 207,
209
207
207
207
208
206-208
207, 208
207
206-208
208
207
207
208
208
208
198, 205,
206, 208,
210, 211,
214, 215,
238, 240,
286
35, 109,
197, 198,
201, 202,
204-10,
212, 214,
215, 233,
234, 238,
239, 241,
256, 273,
287
202
201
207
198
198, 199
207, 209
198, 199
208
198, 199
198
198
16.9-10
16.10
16.11
16.12-15
16.12
16.13-15
16.13
16.14
16.15
16.16-19
16.16-17
16.16
16.17
16.18-21
16.18-19
16.18
16.19-27
16.19-24
16.19-20
16.19
16.20-34
16.20-27
16.20-24
16.20-21
16.20
16.21
16.24-27
16.24-25
16.24
16.25-34
16.26-27
16.26
16.27
16.28-34
16.28-33
16.28-30
16.28
16.30-34
16.30
198
198
203
200, 202,
203, 217
200, 201
203
200
200, 201
201
201
198
198, 199,
202
198
203
201, 203
199
200
198
202
199
202, 203
203
203
202
202
199-202,
234
201
200
199-202,
217, 222,
234
202, 203
198, 231,
232
199, 201,
202, 235
199-201,
203
199, 200,
206
197
201, 203
200, 207
201
200
301
Index of References
16.31-33
16.32
16.33
16.34
203
198
198, 200,
202
200-202,
205
16.35
198, 200203, 206
17-18
207
17
200, 202,
205, 214,
17.5
17.6-15
17.6
17.9-10
17.15
17.16-28
17.16
23
25
Deuteronomy
1.27
9-10
20
20.1
21.6
25.1
30.1
1 Samuel
1-2
1.10
1.12
1.26
2.1-10
2.1
2 Samuel
15.30
19.5
23.1-3
1 Kings
8.31
12
12.26-30
12.26
12.33
13.1
17-19
18
204
200
205-207
164
222
232
234
137
159
144
31, 173
181
260
260
260
260
260
192, 260
84
84
58
144
220, 226
218
104, 220,
234
19
287
198
203
205
203, 204
230
212
212
101
19.1-18
19.1-3
19.1-2
19.1
19.3-18
19.3
19.4
19.5-6
19.5
19.6-8
19.6
19.7
19.9-11
19.9-10
19.9
19.10
19.11-12
19.11
19.13-14
19.13
19.14
19.15-18
19.19
2 Kings
15.5
16.15
18.22
20
101, 103,
104, 106,
111, 116,
117, 153,
216, 230,
231, 236,
241, 242,
260, 266,
287
101
103, 104
102
101
104
101, 115,
205
114
102
104, 105,
235
102
103
104
105
105
104, 105
102-104
103
103, 105,
241
105
189, 192,
260, 286
20.5-6
20.5
20.7-8
20.7
20.8
22.20
71
69
70
69, 71
69
157
2 Chronicles
211
26
209,211,
26.16
214, 215
209
26.18
26.21
209, 210
212
26.22
26.23
210
177
29.6
32.12
177
Ezra
8.15
272
Nehemiah
13.7
272
Esther
6.12
84
Job
15.8
30.4
33.5
34.14
42.2-6
42.5
42.9
212
102
163
157
279
238
237
84, 103, 105
102-104
Psalms
104
104
1
153, 171,
1.1
1.3-6
172
153
30
209, 215
1.5
36, 66, 131,
121
177
1.6
65, 69, 74,
118, 188,
29, 31, 153,
170, 171
3.10-11
30
153
302
4.7-11
5
5.2-8
5.2-4
5.2-3
5.3-8
5.3-4
5.3
5.4
5.5-8
5.5-7
5.5-6
5.5
5.6
5.7-10
5.7
Between Sheol and Temple
90
145, 154,
163-65,
168, 17075, 177-80,
182, 183,
185-89,
191,192,
196, 197,
214, 216,
239, 240,
251, 255,
256, 258,
268, 271,
273, 276,
286
178
163, 179
163, 166,
171, 175,
178
178, 194
167, 168,
174-77, 186
175
163, 175
167, 186,
271
167, 170,
172-76,
178, 179,
181-84,
186, 193,
194, 269
175
164, 168,
170, 171,
175, 176,
178, 179,
181, 182,
185, 254,
265
168, 170,
171, 176,
178, 18183, 199, 265
163
170, 172,
5.8
5.9-11
5.9-10
5.9
5.10
5.11-13
5.11-12
5.11
5.12-13
5.12
5.13
7
7.4-6
175, 179,
265
174-78,
186, 199,
207, 235,
254, 257,
269, 271
175, 180
185, 192,
194
163, 164,
166, 171,
175-77,
180, 181,
183, 186,
193, 266
163, 164,
167, 168,
171, 176,
178-80,
183, 184,
192, 248,
255
182
166
35, 163,
166-68,
176, 178,
179, 18186, 192-95,
247, 255,
256
167, 168,
172, 175,
176, 17984, 193, 194
166, 167,
169-72,
176, 183,
251, 254,
265, 273,
275
29, 167,
169, 170,
172, 176,
265
145, 164
144
7.5-6
7.10
9.14
11
11.1
11.2
11.4-7
11.5
11.6
14.5
15
15.1
15.5
16.8
17
17.3-5
17.15
18.34
18.37
21.6
22
22.3
23
23.1-4
23.1-3
23.1
23.3
23.4-5
23.4
256
29, 31, 170,
171
88, 89
53
53, 54, 80,
256
53
53
29, 31, 170,
171
35
29-31, 50,
170, 171
67, 131,
145, 147,
152, 159,
164, 165,
173, 177,
182, 18589, 191,
240, 287
152
182, 256
246
145, 163,
164
144, 154
84, 122, 207
246
151
246
77
246
96, 100,
102, 112,
124-26,
131, 132,
152, 159,
205, 244,
265, 267,
274
100, 124
102
124
181
124
112, 124,
Index of References
23.5-6
23.5
23.6
24
24.3
24.4
24.6
25.1
26
26.1-5
26.1-3
26.1-2
26.1
26.2-5
26.2
26.3-8
26.3-7
26.3-5
275
124
26.3
100, 12426, 193,
194, 256
85
67, 131,
145, 147,
26.4-8
164, 165,
173, 18589, 191,
26.4-7
240, 287
26.4-6
152
26.4-5
80
66
80
96, 97, 133,
143, 147,
149, 150,
152-62,
26.4
164, 166,
168, 175,
26.5-6
178, 18387, 189,
26.5
193, 195199, 203,
26.6-8
205, 217,
241, 257,
26.6-7
260, 261,
271, 274,
26.6
276, 283
144
151
26.7-8
144, 175,
185
26.7
146-48,
150, 151,
26.8
155, 175,
257
26.9-11
148
26.9-10
146, 181
46, 147,
26.9
148, 150,
151, 162,
168, 175,
178
146
26.10
26.11-12
148
144, 146,
148-51,
154, 155,
157, 175,
177, 178,
180, 186,
257
148-50,
152, 15558, 271
151
269
144, 145,
148, 149,
151, 15658, 175,
192, 193,
217,235,
275
144, 14850, 156, 161
155
148, 151,
155, 156
148, 150,
157, 254
148, 175,
186, 257
148, 149,
157, 177,
178, 181,
271
146
145, 154,
155
148, 150,
155
147
146, 156,
162, 183
144.47,
155-58,
168, 175,
185, 195,
255, 256
146, 157
145
303
26.11
26.12
26.48
27
27.1-6
27.1-4
27.1-3
27.1-2
27.1
27.2-3
27.2
27.3-4
144, 14648, 150,
155, 175
144, 14648, 150-52,
155, 181,
257
149
34, 71, 100,
111, 119,
123-27,
130-39,
145, 153,
154, 15762, 168,
180, 242,
245, 251,
253-63, 264
119, 121,
123-26,
128-30,
132, 149,
154, 156,
159, 162,
178, 184,
244, 251,
253, 265,
267, 273,
274, 276,
284
87
122-24,
127-29,
133, 149,
192, 193
136
120-22,
124, 125,
133, 134,
136, 161,
265
129, 134,
275
122, 123,
129, 179,
181, 194
149
304
27.3
27.4-6
27.4-5
27.4
27.5-6
27.5
27.6
27.7-14
27.7-13
27.7-12
27.7-10
27.7
27.8-9
27.8
27.9
27.10
27.11-12
27.11
27.12-13
27.12
Between Sheol and Temple
122, 129,
136, 151,
27.13
194
122-24, 254
253
44, 120-22,
27.14
125, 129,
133-35,
163, 192,
207, 266,
272, 273
44, 122,
28.1
28.2
124, 125,
30.8
135, 193,
30.12-13
194, 271
31
101, 121,
122, 131,
31.20-21
135, 151,
31.20
181, 255,
31.24-25
275
122, 125,
135, 181,
31.25
32.1-2
255
32.10-11
119, 126,
32.10
131
119, 120,
32.11
130, 252
127-30
33.1
33.16
129, 130
120, 121,
34
123, 129,
133, 134,
265, 276
121, 266
34.2-7
129
34.16-23
34.16
127, 129
34.20
127, 129
121, 123,
34.21
35
129, 130,
180, 192
35.5
35.8
126, 130,
131, 14935.13
53, 180,
35.20
36
181, 235,
266
180
120, 127,
129, 134,
146, 180,
186
122, 127,
128, 13436, 161,
180, 194
19, 119-21,
127-30,
137, 163,
245, 246,
252, 275
55
177
84
84
138, 139,
253, 285
139
139
128, 139,
168
128
42
168
29
29, 31, 36,
169, 171
36, 169
131
29,31, 171,
172, 189,
265, 266,
274
265
30
29, 170
29, 170
29, 170
77
35, 80
52
80
58
49-51, 5557, 59-61,
63, 64, 67,
68, 71, 73,
78, 83, 93,
36.2-10
36.2-5
36.2
36.6-13
36.6-10
36.6-8
36.6-7
36.6
36.7-8
36.7
36.8-13
36.8-10
36.8-9
36.8
36.9-10
36.9
36.10
36.11-13
36.11-12
36.11
36.12-13
95-101,
111, 114,
116, 123,
130, 132,
154, 155,
157, 158,
162, 178,
195, 205,
241, 251,
260, 274,
275
178
55-61, 123,
265
56-60
58
56, 123,
139, 149,
265
149
51, 89
56, 59, 149
250
50, 51, 53,
56, 61, 62
38
50-53, 55,
56, 61, 254,
266
53
51, 53, 54,
123, 14951, 273
83, 84
170, 254
50, 52, 54,
149, 150
54, 56
49
50-53, 131,
168, 169,
172, 251
54, 55, 60,
95, 146,
157, 158,
183, 185,
192, 255,
256, 270
Index of References
36.12
36.13
37
37.9
37.11
37.16-17
37.16
37.17
37.22
37.25-26
37.25
37.27
37.29
37.31
37.33
37.34
37.35-36
37.39
37.40
39.3
40.17
42-43
51-54, 56,
57, 93, 131,
186, 193,
194
35, 49-51,
53, 54, 56,
57, 59, 95,
97, 151,
157, 168,
181, 256,
265
29-31, 171,
172, 265,
266
34
34
45
29
29, 170
34
29
265
34
29, 34
151
29, 170
34
265
29, 170
29, 170
246
166
15, 21, 40,
43, 76, 79,
81, 84, 89,
90, 93-101,
105, 10914, 116,
121, 124,
127, 128,
130, 131,
138, 155,
205, 226,
235, 241,
245-49,
252, 253,
261, 262,
265, 267,
42
42.1-2
42.1
42.2-8
42.2-6
42.2-5
42.2-4
42.2-3
42.2
42.3-4
42.3
42.4
42.5-8
42.5-6
42.5
42.6
42.7-11
275, 277,
278, 282,
284
15,71,76,
84, 85, 88,
89, 92, 93,
96-98, 101
102, 109,
111, 122,
130, 135,
138, 149,
153, 162,
193,245
88, 92
75, 236
83
86
77-79, 82,
87,90-93
83
78,81,82,
84, 85, 87,
99, 122,
254, 266,
273
77, 83, 84,
89,99,149,
178
92
78, 82, 84,
93, 94, 99,
123, 151,
270
77,78,82,
84-87, 91,
97, 99, 102
194, 195
82
78, 82-85,
88, 90, 94,
98, 99, 246
19, 77, 79,
82, 163,
235, 245,
246
77, 79, 82,
86, 87, 90,
92-94, 97
305
42.7-8
42.7
42.8
42.9-11
42.9
42.10-11
42.10
42.11
42.12
43
43.1-5
43.1-4
43.1-2
43.1
43.2
43.3-4
78, 88-91,
93, 95, 99,
157
75, 77, 78,
81, 83-85,
87-89, 91,
95, 99, 149,
158, 217,
246, 247
76, 78, 8285, 88-91,
95, 158
87
78, 87, 91,
235
89-92, 97
75, 77, 84,
86, 87, 91
77, 86, 87,
97, 246, 247
19, 77, 79,
163, 235,
245, 246
71, 76, 93,
94,98, 111,
130, 162
127, 130,
131
77, 80, 82,
91,92, 121
180
78, 93, 94,
97, 130, 192
77, 78, 86,
87, 90, 97,
127, 146,
180, 186
75, 77, 84,
91, 92
75, 78, 79,
84, 86, 93,
94, 96, 100,
108, 130,
149-51,
153, 192,
236, 254,
257, 266,
306
43.3
43.4
43.5
46
46.3-7
46.3
46.6
46.7
48.8
49.13
49.21
51.20-21
52
52.2-7
52.2
52.3-7
52.3
52.4-6
52.6
52.7
52.8-9
52.8
52.9
52.10-11
Between Sheol and Temple
270, 271,
273
78, 91, 96,
102, 109,
130, 149,
151, 180,
235, 236
78, 87, 109,
122, 150,
235, 246,
247
19, 77, 79,
130, 163,
235, 245,
246
88, 89
88
89
89
89
90
50
50
134
56, 60, 63,
160, 161,
171, 172,
201, 205,
248, 253
56
56
160, 171,
203, 247,
253
248, 250
248
58
34, 153
29, 30, 56,
160, 169,
253
36
253
56, 109,
153, 159,
160, 169,
248, 249,
253
52.10
52.11
55
55.17
55.19
55.20
55.22-23
55.22
55.23
55.23-24
55.24
56.14
58.11-12
58.11
58.12
61
61.3-5
61.3-4
61.3
61.4
61.5
62
62.1
62.2-8
62.2-7
62.2-6
62.2-3
171, 201
275
138, 139,
179, 253
128
128
128
128
179, 248
29-31, 36,
128, 170,
171, 179
127, 139,
168
31, 128,
171, 179
35
30
29, 32, 169,
171
29, 30
39
136
136
88, 89, 101,
136, 255,
271
136
136, 255
40, 43, 59,
138, 139,
146, 196,
242, 245,
246, 248,
249, 25167, 270,
271, 274,
275, 27779, 282-85
251
151, 24345, 248,
265, 267,
273
250
249
243, 245,
246, 250,
62.2
62.3-5
62.3
62.4-9
62.4-5
62.4
62.5-6
62.5
62.6-8
62.6-7
62.6
62.7
62.8
62.9-13
62.9-11
62.9-10
62.9
62.10
62.11
62.12-13
62.12
251
152, 24446, 249, 254
255
246, 248,
250, 251,
254, 255,
271
243
243, 244,
247, 248,
250-56,
270, 279
35, 247, 254
255
247, 251,
254, 255,
271
243, 245,
246
245, 249,
250
80, 245,
246, 24852, 254
246, 249,
250, 254,
271
246, 247,
249, 250,
252, 254
243, 244
244
250
19, 151,
173, 244,
245, 24852, 254,
261, 270,
277
250-53, 265
151, 248,
250-52, 270
244, 24951, 262,
265, 279
30, 248-50,
252, 266
Index of References
62.13
63
63.3-4
64.11
65.2
66
66.10-12
66.10
68.4
68.5
68.6-7
68.7
68.8-11
68.16-17
68.23
68.25
69.11
69.28-29
69.29
69.36-37
70.5
72.7
73
73,15-17
73.1-14
73.1-2
73.1
73.2-14
73.2-3
73.2
73.3
73.4-12
73.6-11
73.6-10
73.12-14
73.12
73.13-14
73.13
244, 24851, 266
124
135
29, 30, 169
246
115, 116
43, 115
114
29, 31, 169,
171
30
29
89
43
88, 89, 91
89
88
80
36
234
134
166
29
50, 59, 60,
63, 64, 68,
143, 267,
270, 27379, 282, 284
276
59
269, 279
268-70,
274, 276-78
277
59, 269, 276
268-70
269, 270,
278
59
59, 269
59
269, 276,
277
59, 269
59, 269, 276
145, 269,
278
73.14
73.15
73.16
73.17-18
73.17
73.18-20
73.18
73.19-20
73.21-22
73.21
73.22-23
73.23-26
73.23-24
73.23
73.24
73.26
73.27-28
73.27
73.28
74.13-14
74.15
75.1
75.11
76.2-7
76.5
76.6
77
77.3
77.12
77.14
77.21
84
269
59, 268,
270, 273
270
271
270, 272,
273, 275,
278
59, 269, 273
268-70, 273
270
59, 273
50
269
271
275
275-77, 279
181, 268,
271, 279
271, 275,
279
269, 279
59, 268-70,
273-76, 278
268, 269,
271, 273,
275, 279
90
90
171
29, 31
90
88, 89, 91
114
307
84.2-8
84.2-5
84.2-4
84.2
84.3
84.4
84.5-10
84.5-8
84.5
84.6-10
84.6-9
84.6-8
84.6
115, 116
245
115
114
114
15, 44, 45,
47-49, 51,
56, 57, 59,
61-64, 67,
68,71,73,
76-78, 83,
85, 94-98,
100, 111,
114, 116,
84.7-8
84.7
84.8-10
84.8
84.9-12
84.9-12
84.9-11
84.9-10
123, 124,
130, 132,
149, 15356, 159,
160, 162,
168, 178,
184, 193,
205, 226,
241,251,
271, 274,
283
265
48, 49
39, 41, 44,
45, 47, 79,
122, 178
40, 42, 44,
46, 178
266
42,45
50
38-42, 45,
46, 49, 124,
149, 154,
265
40-45, 47,
123, 150,
254, 273
48
94
41, 44, 45,
47, 150
40-44, 46,
50,96, 151
155, 257
42-44, 96
38, 40, 43,
88, 124
49
39, 40, 4244,61,254,
273
42
46
41
38, 39, 47,
51
308
84.9
84.10
84.11-13
84.11-12
84.11
84.12-13
84.12
84.13
86.4
88
88.5
88.6-7
88.6
89.20
92
92.8-9
92.8
92.13-15
92.13
92.16
97.10-11
97.10
97.11
97.12
99.9
102.13-23
103.1
103.22
104.1
104.6-9
Between Sheol and Temple
39, 40, 42,
45, 46, 131
39, 40, 63
47
46, 48, 49
44-47, 49,
54, 60, 61,
66, 93, 95,
149, 153,
154, 158,
192, 193,
199, 217,
257, 266,
271, 275
49, 168
46-50, 150,
168, 169,
265
40-42, 4446, 48, 50,
62, 150,
168, 265
80
88, 89, 91,
157
55
86
210
246
160, 161
160
153, 171
31, 171
29, 109,
153, 159,
160, 169
249, 275
36
29
29, 30
29, 30, 36,
169
177, 178
77
80
80
80
90
104.10-11
104.29
104.35
107.33
110.1
112
112.2-10
112.5-10
112.5-9
112.5
112.6-8
112.6
112.7
112.8
112.9
112.10
114
114.1-2
116.7
116.8
116.9
116.13
118
118.1-4
118.3-5
118.3
118.5
118.6-12
118.6-9
118.6-7
118.6
118.10-12
118.10
118.11
118.12
118.13-14
118.13
90
157
80
43
52, 58
137, 286,
287
30
136
32, 171
126, 136,
160
257
29
126
126
126
126
114
114
80
35
34
85
39, 40, 6769, 74, 96,
123, 132,
140, 284-86
68, 123
67
67
35, 67, 68,
91, 123,
158, 195
126, 129
123
124
123, 126
68, 123
123
123
123
158
35, 67, 68,
91, 123,
129, 151,
195, 256,
270
118.14
118.15-16
118.15
118.17-18
118.17
118.18
118.19-21
118.19-20
118.19
118.20
118.21
118.22-27
118.25
118.28
118.29
119.30
119.43
120
120.4
120.5
125.3
126.5-6
130-131
130
130.5
130.7
131
131.1-2
131.2
131.3
132.7
138.2
139
67, 123
29, 36, 169
205
35,67
68
35, 67, 68,
91, 123,
158, 195
65, 67, 68,
192
36, 65, 123,
169, 176,
177, 205
39, 66, 74
66
66, 67, 123
39
39
249
68, 123
246
58
88, 89
102
88
29, 36
43
249
138, 139,
245
246
243, 246
40, 80, 81,
138-40,
142, 245,
249, 252,
253, 261,
262, 267,
275, 278,
279, 283,
285
80
245, 246
19, 80, 81,
243, 246
177, 201
111
145, 164
309
Index of References
139.24
140
140.2-14
140.2-6
140.2-5
140.2-4
140.2-3
140.2
140.3-4
140.3
140.4
140.5-6
140.5
140.6
140.7-12
140.7-11
140.7-8
140.7
140.8
140.9
140.10-11
140.10
140.11-12
140.11
181
10, 13, 14,
27, 32, 33,
36-38, 40,
45-47, 49,
51, 55-57,
60, 61, 63,
64, 67, 68,
73, 78, 85,
94, 95, 97,
98, 100,
111, 114,
116, 130,
132, 157,
168, 172,
175, 178,
207,211,
251, 268
28
27, 32, 34,
35
32
27
31, 146
27, 28, 33,
93, 131, 186
27
10
10, 30
27, 93, 146,
151, 192
27, 54, 131,
181, 186
10, 30
27
31
27, 28, 34
27, 28, 32,
131
10, 28, 29
32, 131,
146, 186
27, 34
10, 30-32
54, 95, 175,
193, 194,
206
29, 30, 32,
141.4-5
142.8
143.7
143.8
143.10
146.1
146.7-9
146.8
35, 54, 157,
181, 183
30
32, 49, 51,
61, 133
182
10, 27-29,
31-35, 37,
50, 53, 54,
61, 72, 97,
134, 157,
170, 172,
175, 181,
194, 265
27-30, 3234, 44-47,
49, 50, 166,
168, 170,
172, 175,
182, 266
10, 27, 3133,46,51,
150, 169,
185, 251,
265
27-31, 34,
42-44, 47,
49,51,61,
72, 96, 123,
149, 169,
176, 182,
254, 265,
266, 273,
275
36
36, 66, 169
55
80
152
80
29, 32, 171
29, 170
Proverbs
1.10-19
1.11-12
2
2.16-22
260
179
179
201
140.12-15
140.12-14
140.12-13
140.12
140.13-14
140.13
140.14
2.16
2.18
2.20-21
2.21-22
5.3
6.24
7.5
7.6
7.7
7.21
13.5
20.25
25.19
29.12
30.1
54, 98, 179
201
179
179
54, 179
179
54, 179
98
272
179
58
121
151
58
58
Ecclesiastes
12.9
12.10
12.11
58
58
58
Isaiah
1
1.2-31
1.2-26
1.2-23
1.2-20
1.10-20
1.10-17
1.10
1.11
1.12
165, 174,
178, 196,
240
165
165
165
165
164, 165,
187, 193,
195
164, 165
165, 173,
182, 18692, 203205,211,
214, 215,
217, 220,
227, 228,
237, 23941, 257,
258, 260,
284, 286,
287
171
173, 176,
178, 186
310
1.13
1.15-17
1.15-16
1.15
1.16-17
1.16
1.18-20
1.18
1.19-20
1.19
4.3-4
6.1-4
6.1
14
14.4-20
14.4
14.8
14.9
14.11
14.12
14.13-14
14.14
14.15
14.18-20
25.6-7
26.2
27.13
33.14-16
33.14
33.15
33.16
33.17
33.21
33.23
36.7
38
38.1
38.2-3
38.4-5
Between Sheol and Temple
171
178
186, 187
157, 173,
174, 182,
188
174, 190
173
164
178
165, 174,
176
187
234
117
103, 212
212, 214
212, 213
242
212
97
212
212
212
212
212
213
84
66
177
185, 240
131, 174,
185-87,
189, 19193, 287
152
90, 152,
193, 256
153
90
90
177
65, 69-71,
73, 74, 118,
189, 286
70
70
70
38.5-6
38.6
38.7-8
38.8
38.9
38.10-20
38.10
38.11
38.13
38.17
38.19
38.20
38.21
38.22
40-55
40.4
41.17-20
42.14-17
42.16
43.2
43.16-21
44.2-4
44.26-27
45.8
48.18
48.20-21
49.9-11
50.2-3
50.3
51.9-10
51.15-16
54.9-10
55.1-2
55.10-13
56.5
66.23
Jeremiah
2.27
3.8
7
71
70
70
71
70,72
72
61, 72, 73
34, 72, 134,
194
246
72
72
70,72
70
69-71
90, 234, 238
152
90
90
152
90
90
90
90
90
90
90
90
90
90
90
90
90
90
90
234
177
177
181
165, 173,
174, 186,
187, 18992, 196,
197, 203205, 214,
215, 217,
7.1-15
7.1
7.2-4
7.2-3
7.2
7.3-7
7.3-6
7.3
7.4
7.5-7
7.6-7
7.7
7.8-10
7.8
7.9
7.10
7.14
7.15
8.3
14.3-4
15
16.15
17.5
22.1
23.3
23.18
24
24.9
26.2
27.10
220, 227,
228, 237,
239-42,
257, 258,
260, 284,
286, 287
164, 166,
174, 182,
187, 193,
195
188
174
174
68, 173,
176, 177,
187
190
174
174, 176,
182, 187
173, 188,
191
176
174
174, 182,
187
186
173, 174,
191
173, 174
171, 173,
176, 178,
187, 188
173, 174
174, 182,
187
181
84
192
181
153
174
181
212
192
181
177
181
Index of References
27.15
29.14
29.18
32.33
32.37
46.28
49.30
50.3
Lamentations
3.20
3.21
3.22
3.24
3.25
3.26
3.27
3.28
3.29
4
4.15
4.16
Ezekiel
3.17-21
3.18
4.13
8.16
13.9
181
181
181
177
181
181
54
54
246
245, 246
246
246
246
246
279
246
246
182
181, 182
182
191, 192
240, 287
18
191, 192,
240, 287
22.1-16
26.20
28
28.2-19
28.2
28.8
28.9-10
28.12-19
28.12
28.13-15
28.16-17
28.18
31.14
31.16
32.2
32.18
32.24
32.25
32.29
32.30
33.1-20
33.8
34.11-12
40-47
191
55
212-15
213
212
212
212
212
242
212
212
212
55
55
212
55
55
55
55
55
181
177, 186
234
43.10-11
44.1-4
191, 192
240, 287
121
226, 227,
240
226
68
311
44.1-3
44.1
44.2
44.3
46.1
46.2
46.3
46.9
47
65, 66, 192
65, 74
65, 66
66
66
66, 177
177
177
84
Daniel
9.7
12.1
181
234
Joel
2.17
2.20
177
181
Micah
7.7
163
Habakkuk
2.1
163
Malachi
2.6
3.16
152
234
INDEX OF AUTHORS
Alonso Schokel, L. 16, 21, 22, 76, 7880, 83, 87, 90
Alter, R. 21, 106
Aurelius, E. 101, 198, 208, 217, 218,
222, 228, 230-33
Barr, J. 20
Barstad, H.M. 43, 90, 190
Barton,!. 18,20,22
Begrich, J. 124, 165, 263
Bentzen, A. 120, 145
Beyerlin, W. 11, 12, 75, 80, 120, 14042, 144, 154, 164, 166, 177, 182,
185, 191, 243-45, 251, 258, 266,
278, 280, 285
Birkeland, H. 10, 52, 75, 119, 120,
145, 154, 164, 244, 268
Brichto, H.C. 22, 198, 206, 217, 218,
224, 225, 228-30, 232, 233
Broyles, C.C. 16, 17, 20, 26, 77, 87,
143, 264
Brueggemann, W. 18, 26, 87, 115, 143,
259, 264, 279, 280
Budd, P.J. 198, 199
Carroll, R.P. 165, 174
Childs, B.S. 20, 103, 108-12, 219-22,
224, 227, 228, 230-33
Christensen, D.L. 206
Clifford, R.J. 83, 161, 214
Clines, D.J.A. 22, 107, 143
Coats, G.W. 101, 107, 109-12, 116,
198, 206-208, 218, 220, 228, 229,
233, 238
Cody, A. 198
Collins, T. 17, 18, 259
Conrad, E.W. I l l , 124
Craigie, P.C 75, 82, 83, 88, 119, 122,
127, 143, 145, 148, 164, 166,
178, 179
Croft, S.J.L. 10, 11, 41, 48, 56, 58, 76,
120, 145, 164, 175, 244, 254, 268
Criisemann, F. 35, 69, 108, 109, 114,
123
Culley, R.C. 21
Dahood, M. 11, 29, 33, 35, 41, 49, 52,
54, 75, 88, 119, 120, 144-46, 163,
164, 175, 178, 179, 181, 243, 271
Davies, E.W. 165
Delekat, L. 11, 12, 29, 39, 48, 52-54,
58, 76, 78, 119-21, 163, 181, 199,
243, 244, 254, 258, 263, 268, 272
Durham, J.I. 218, 219, 227, 232
Eaton, J.H. 76, 119, 145, 164, 244,
255, 268, 272
Eichhorn, D. 40, 53, 76, 84, 101, 103,
117, 121, 135, 136, 141, 199,
208, 244, 251, 254, 266, 268,
272, 285
Engnell, I. 26
Eriksson, L.O. 189
Fohrer, G. 101, 104, 105, 112, 116
Frazer, J. 26
Geertz, C. 24, 161
Gerstenberger, E.S. 11, 12, 14, 24, 38,
39, 71, 76, 77, 87, 88, 94, 120,
163, 164, 189, 243, 264, 267, 268
Girard, R. 25, 26
Gitay, Y. 165
Goulder, M.D. 38, 40-42, 45, 76, 85
Index of Authors
313
Graupner, A. 165
Gunkel, H. 10-12, 18, 23, 28, 38, 41,
49, 75, 120, 144, 172, 189, 243,
263, 267
Gunneweg, A.H.J. 198
30,40,41,49,75, 109, 115, 117,
119, 121, 142, 145, 160, 163-65,
189, 244, 263, 264, 266-68, 272,
285
Murphy, R.E. 140, 267
Hauge, M.R. 17, 31, 39, 65, 67, 69, 83,
89, 103, 104, 107, 139, 143, 177,
192, 215, 219, 226, 241, 266
Hauser, A.J. 213
Hermisson, H.J. 16, 24, 120, 125
Hoffmann, H.W. 165
Holladay, W.L. 165, 174
Niditch, S. 165
Noth, M..112, 206, 207
Jensen, J. 165
Jeremias, J. 84, 101, 103, 104, 114
Johnson, A.R. 38, 41, 179
Kaiser, O. 84, 112, 165,285
Kaser.W. 42
Kearney, PJ. 217, 220-23, 228, 229
Kessler, M. 78-80, 83
Knierim, R. 17
Knight, D.A. 17, 114
Koch, K. 165
Kraus, H.-J. 11, 14, 28, 33, 35, 37, 38,
41,49,51,52,54,69,75, 115,
120, 122, 127, 138, 144, 154,
163, 164, 176, 243-45, 247, 267,
270, 272
Kselman, J.S. 206
Lehming, S. 198, 217, 218
Lemche, N.P. 22, 106
Ljung, I. 21
Loewenstamm, S.E. 218
Lohfink, N. 25
McAlpine, T.H. 90
McCann, J.C. Jr 268, 270, 273, 279
McCarthy, D. 113
McCullough, W.S. 38, 41, 268, 272
McGovern, P. 190
McKay, J.W. 77, 88, 119, 145, 163,
166
Miller, P.O. 13, 18
Moberly, R.W.L. 217-25, 228-34
Mowinckel, S. 10, 12, 17, 23, 24, 28,
Ollenburger, B.C. 24, 161
Pedersen, J. 113, 198
Perdue, L.G. 218, 268, 272
Pritchard, J.B. 69
Rad, G. von 24, 30, 31, 33, 67, 118,
120, 125, 133, 145, 189, 266
Rendtorff, R. 107
Reventlow, H.G. 140, 165, 174, 177,
191
Richter, G. 198
Ridderbos, N.H. 16, 49-52, 58, 76, 79,
87, 119, 145-47, 166, 167, 172,
179, 180
Ringgren, H. 268, 272
Rogerson. J. 77, 88, 119, 145, 163,
166
Ross, J.F. 268, 271-73, 278
Rudolph, W. 210
Ruppert, L. 11, 12, 29, 75, 145, 164,
176
Schmid, H. 197, 198, 206, 207, 218,
222
Schmidt, H. 11, 28, 41, 48, 56, 58, 67,
75, 120, 144, 154, 164, 243, 267,
268, 272
Schwager, R. 25, 26
Seybold, K 138, 247, 258, 268
Smith, M.S. 120, 124
Snaith, N.H. 70
Soggin, J.A. 209, 210
Spronk, K. 268, 269, 271
Stolz, F. 243, 244, 259, 268, 270
Tate, M.E. 244
Taylor, W.R 10, 11, 48, 56, 75, 119,
138, 144, 163, 166, 243
314
Between Sheol and Temple
Thompson, T.L. 106, 107, 110
Tromp, N.J. 33, 35, 54, 72, 75, 83, 88,
161
Van Seters, J. 106, 107
Vogt, E. 120, 144-48, 152, 154, 185
Wanke, G. 77, 198
Watson, W. 209
Walters, W.R. 21
Watts, J.D.W. 165
Weippert, H. 165, 166, 171, 173
Weiser, A. 28, 31, 41, 48, 49, 72, 76,
163
Weiss, M. 21
Wenham, G.J. 200
Westermann, C. 213,214
Whybray, R.N. 22, 106, 107, 142, 143
Widengren, G. 24, 259
Wildberger, H. 69, 70, 84, 164, 165
Willi,T. 209
Willis, J.T. 165
Wiirthwein, E. 268, 272
Zeron, A. 212
Zimmerli, W. 31, 33, 67, 145, 177, 212
JOURNAL FOR THE STUDY OF THE OLD TESTAMENT
Supplement Series
84
INTO THE HANDS OF THE LIVING GOD
Lyle Eslinger
85
FROM CARMEL TO HOREB:
ELIJAH IN CRISIS
86
87
Alan J. Hauser & Russell Gregory
THE SYNTAX OF THE VERB IN CLASSICAL HEBREW PROSE
Alviero Niccacci
Translated by W.G.E. Watson
THE BIBLE IN THREE DIMENSIONS :
ESSAYS IN CELEBRATION OF FORTY YEARS OF BIBLICAL STUDIES
IN THE UNIVERSITY OF SHEFFIELD
88
89
Edited by David J.A. Clines, Stephen E. Fowl & Stanley E. Porter
THE PERSUASIVE APPEAL OF THE CHRONICLER:
A RHETORICAL ANALYSIS
Rodney K. Duke
THE PROBLEM OF THE PROCESS OF TRANSMISSION
IN THE PENTATEUCH
RolfRendtorff
Translated by John J. Scullion
90
91
92
93
BIBLICAL HEBREW IN TRANSITION:
THE LANGUAGE OF THE BOOK OF EZEKIEL
Mark F. Rooker
THE IDEOLOGY OF RITUAL:
SPACE, TIME AND STATUS IN THE PRIESTLY THEOLOGY
Frank H. Gorman, Jr
ON HUMOUR AND THE COMIC IN THE HEBREW BIBLE
Edited by Yehuda T. Radday & Athalya Brenner
JOSHUA 24 AS POETIC NARRATIVE
William T. Koopmans
94
95
96
97
WHAT DOES EVE Do TO HELP? AND OTHER READERLY QUESTIONS
TO THE OLD TESTAMENT
David J.A. Clines
GOD SAVES:
LESSONS FROM THE ELISHA STORIES
Rick Dale Moore
ANNOUNCEMENTS OF PLOT IN GENESIS
Laurence A. Turner
THE UNITY OF THE TWELVE
Paul R. House
98
99
ANCIENT CONQUEST ACCOUNTS:
A STUDY IN ANCIENT NEAR EASTERN AND BIBLICAL HISTORY WRITING
K. Lawson Younger, Jr
WEALTH AND POVERTY IN THE BOOK OF PROVERBS
100
R.N. Whybray
A TRIBUTE TO GEZA VERMES:
ESSAYS ON JEWISH AND CHRISTIAN
LITERATURE AND HISTORY
101
Edited by Philip R. Davies & Richard T. White
THE CHRONICLER IN HIS AGE
Peter R. Ackroyd
102
THE PRAYERS OF DAVID (PSALMS 51-72):
STUDIES IN THE PSALTER, n
Michael Goulder
10 3
THE SOCIOLOGY OF POTTERY IN ANCIENT PALESTINE:
THE CERAMIC INDUSTRY AND THE DIFFUSION OF CERAMIC STYLE
IN THE BRONZE AND IRON AGES
Bryant G. Wood
104 PSALM STRUCTURES :
A STUDY OF PSALMS WITH REFRAINS
Paul R. Raabe
105
RE-ESTABLISHING JUSTICE
Pietro Bovati
106
GRADED HOLINESS:
A KEY TO THE PRIESTLY CONCEPTION OF THE WORLD
Philip Jenson
THE ALIEN IN ISRAELITE LAW
Christiana van Houten
THE FORGING OF ISRAEL:
IRON TECHNOLOGY, SYMBOLISM AND TRADITION IN ANCIENT SOCIETY
Paula M. McNutt
107
108
109
SCRIBES AND SCHOOLS IN MONARCHIC JUDAH:
110
A Socio-ARCHAEOLOGICAL APPROACH
David Jamieson-Drake
THE CANAANITES AND THEIR LAND:
THE TRADITION OF THE CANAANITES
Niels Peter Lemche
111
YAHWEHANDTHESUN:
THE BIBLICAL AND ARCHAEOLOGICAL EVIDENCE
J. Glen Taylor
112
WISDOM IN REVOLT:
METAPHORICAL THEOLOGY IN THE BOOK OF JOB
Leo G. Perdue
113
PROPERTY AND THE FAMILY IN BIBLICAL LAW
Raymond Westbrook
114
A TRADITIONAL QUEST:
ESSAYS IN HONOUR OF Louis JACOBS
Edited by Dan Cohn-Sherbok
115
116
117
118
119
I HAVE BUILT You AN EXALTED HOUSE:
TEMPLE BUILDING IN THE BIBLE IN LIGHT OF MESOPOTAMIAN
AND NORTHWEST SEMITIC WRITINGS
Victor Hurowitz
NARRATIVE AND NOVELLA IN SAMUEL:
STUDIES BY HUGO GRESSMANN AND OTHER SCHOLARS 1906-1923
Translated by David E. Orton
Edited by David M. Gunn
SECOND TEMPLE STUDIES:
I.PERSIAN PERIOD
Edited by Philip R. Davies
SEEING AND HEARING GOD WITH THE PSALMS :
THE PROPHETIC LITURGY FROM THE SECOND TEMPLE IN JERUSALEM
Raymond Jacques Tournay
Translated by J. Edward Crowley
TELLING QUEEN MICHAL' s STORY:
AN EXPERIMENT IN COMPARATIVE INTERPRETATION
Edited by David J.A. Clines & Tamara C. Eskenazi
120
THE REFORMING KINGS :
121
CULT AND SOCIETY IN FIRST TEMPLE JUDAH
Richard H. Lowery
KING SAUL IN THE HISTORIOGRAPHY OF JUDAH
122
Diana Vikander Edelman
IMAGES OF EMPIRE
123
JUDAHITE BURIAL PRACTICES AND BELIEFS ABOUT THE DEAD
124
LAW AND IDEOLOGY IN MONARCHIC ISRAEL
125
Edited by Baruch Halpern & Deborah W. Hobson
PRIESTHOOD AND CULT IN ANCIENT ISRAEL
Edited by Gary A. Anderson & Saul M. Olyan
126
W.M.L.DE WETTE, FOUNDER OF MODERN BIBLICAL CRITICISM:
Edited by Loveday Alexander
Elizabeth Bloch-Smith
AN INTELLECTUAL BIOGRAPHY
John W. Rogerson
127
128
129
THE FABRIC OF HISTORY:
TEXT, ARTIFACT AND ISRAEL'S PAST
Edited by Diana Vikander Edelman
BIBLICAL SOUND AND SENSE:
POETIC SOUND PATTERNS IN PROVERBS 10-29
Thomas P. McCreesh
THE ARAMAIC OF DANIEL IN THE LIGHT OF OLD ARAMAIC
Zdravko Stefanovic
130
131
132
133
135
136
137
138
139
140
141
STRUCTURE AND THE BOOK OF ZECHARIAH
Michael Butterworth
FORMS OF DEFORMITY:
A MOTIF-INDEX OF ABNORMALITIES, DEFORMITIES AND DISABILITIES
IN TRADITIONAL JEWISH LITERATURE
Lynn Holden
CONTEXTS FOR AMOS :
PROPHETIC POETICS IN LATIN AMERICAN PERSPECTIVE
Mark Daniel Carroll R.
THE FORSAKEN FIRSTBORN:
A STUDY OF A RECURRENT MOTIF IN THE PATRIARCHAL NARRATIVES
Roger Syren
ISRAEL IN EGYPT:
A READING OF EXODUS 1-2
G.F. Davies
A WALK THROUGH THE GARDEN:
BIBLICAL, ICONOGRAPHICAL AND LITERARY IMAGES OF EDEN
Edited by P. Morris & D. Sawyer
JUSTICE AND RIGHTEOUSNESS:
BIBLICAL THEMES AND THEIR INFLUENCE
Edited by H. Graf Reventlow & Y. Hoffman
TEXT AS PRETEXT:
ESSAYS IN HONOUR OF ROBERT DAVIDSON
Edited by R.P. Carroll
PSALM AND STORY:
INSET HYMNS IN HEBREW NARRATIVE
J.W. Watts
PURITY AND MONOTHEISM:
CLEAN AND UNCLEAN ANIMALS IN BIBLICAL LAW
Walter Houston
DEBT SLAVERY IN ISRAEL AND THE ANCIENT NEAR EAST
Gregory C. Chirichigno
142
DIVINATION IN ANCIENT ISRAEL AND ITS NEAR EASTERN ENVIRONMENT:
A SOCIO-HISTORICAL INVESTIGATION
143
THE NEW LITERARY CRITICISM AND THE HEBREW BIBLE
David J.A. Clines & J. Cheryl Exum
LANGUAGE, IMAGERY AND STRUCTURE IN THE PROPHETIC WRITINGS
Philip R. Davies & David J.A. Clines
THE SPEECHES OF MICAH:
A RHETORICAL-HISTORICAL ANALYSIS
Charles S. Shaw
Frederick H. Cryer
144
145
146
THE HISTORY OF ANCIENT PALESTINE FROM THE PALAEOLITHIC PERIOD
TO ALEXANDER'S CONQUEST
Gosta W. Ahlstrom
147
148
Vows IN THE HEBREW BIBLE AND THE ANCIENT NEAR EAST
Tony W. Cartledge
IN SEARCH OF 'ANCIENT ISRAEL'
Philip R. Davies
149
PRIESTS, PROPHETS AND SCRIBES: ESSAYS ON THE FORMATION
AND HERITAGE OF SECOND TEMPLE JUDAISM IN HONOUR OF
JOSEPH BLENKINSOPP
150
Eugene Ulrich, John W. Wright, Robert P. Carroll & Philip R. Davies (eds)
TRADITION AND INNOVATION IN HAGGAI AND ZECHARIAH 1-8
151
THE CITIZEN-TEMPLE COMMUNITY
152
J.P. Weinberg
UNDERSTANDING POETS AND PROPHETS:
ESSAYS IN HONOUR OF GEORGE WISHART ANDERSON
Janet A. Tollington
153
A.G. Auld
THE PSALMS AND THEIR READERS:
INTERPRETIVE STRATEGIES FOR PSALM 18
D.K. Berry
154
155
156
157
158
159
MlNHAH LE-NAHUM:
BIBLICAL AND OTHER STUDIES PRESENTED TO NAHUM M. SARNA IN
HONOUR OF HIS 70TH BIRTHDAY
M. Brettler and M. Fishbane (eds)
LAND TENURE AND THE BIBLICAL JUBILEE:
DISCOVERING A MORAL WORLD-VIEW THROUGH THE SOCIOLOGY
OF KNOWLEDGE
Jeffrey A. Fager
THE LORD'S SONG:
THE BASIS, FUNCTION AND SIGNIFICANCE OF CHORAL Music
IN CHRONICLES
J.E. Kleinig
THE WORD HESEDIN THE HEBREW BIBLE
G.R. Clark
IN THE WILDERNESS
Mary Douglas
THE SHAPE AND SHAPING OF THE PSALTER
J. Clinton McCann
160
KING AND CULTUS IN CHRONICLES :
WORSHIP AND THE REINTERPRETATION OF HISTORY
William Riley
161
THE MOSES TRADITION
162
OF PROPHET' s VISIONS AND THE WISDOM OF SAGES :
George W. Coats
ESSAYS IN HONOUR OF R. NORMAN WHYBRAY ON HIS
SEVENTIETH BIRTHDAY
Heather A. McKay and David J.A. Clines
163
FRAGMENTED WOMEN:
FEMINIST (SUB)VERSIONS OF BIBLICAL NARRATIVES
J. Cheryl Exum
164
HOUSE OF GOD OR HOUSE OF DAVID:
THE RHETORIC OF 2 SAMUELV
166
Lyle Eslinger
THE ARAMAIC BIBLE:
TARGUMS IN THEIR HISTORICAL CONTEXT
Edited by D.R.G. Beattie & M.J. McNamara
167
SECOND ZECHARIAH AND THE DEUTERONOMIC SCHOOL
168
Raymond F. Person
THE COMPOSITION OF THE BOOK OF PROVERBS
R.N. Whybray
169
EDOM, ISRAEL' s BROTHER AND ANTAGONIST:
THE ROLE OF EDOM IN BIBLICAL PROPHECY AND STORY
Bert Dicou
170
TRADITIONAL TECHNIQUES IN CLASSICAL HEBREW VERSE
171
POLITICS AND THEOPOLITICS IN THE BIBLE AND POSTBIBLICAL
Wilfred G.E. Watson
LITERATURE
172
173
Edited by Y. Hoffman & H. Graf Reventlow
AN INTRODUCTION TO BIBLICAL ARCHAEOLOGY
Volkmar Fritz
HISTORY AND INTERPRETATION:
ESSAYS IN HONOUR OF JOHN H. HAYES
174
Edited by M. Patrick Graham, William P. Brown & Jeffrey K. Kuan
THE BOOK OF THE COVENANT' :
A LITERARY APPROACH
175
176
Joe M. Sprinkle
SECOND TEMPLE STUDIES:
2. TEMPLE AND COMMUNITY IN THE PERSIAN PERIOD
Edited by Tamara C. Eskenazi & Kent H. Richards
STUDIES IN BIBLICAL LAW:
FROM THE HEBREW BIBLE TO THE DEAD SEA SCROLLS
Gershon Brin
177
TEXT-LINGUISTICS AND BIBLICAL HEBREW:
AN EXAMINATION OF METHODOLOGIES
David Allan Dawson
178
BETWEEN SHEOL AND TEMPLE:
A STUDY OF THE MOTIF STRUCTURE AND FUNCTION OF THE I-PSALMS
Martin R. Hauge